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in  2014 


https://archive.org/details/musichymnodyofmeOOpric_0 


) 

■•i 


The  Music  and  Hymnody 

OF 

The  Methodist  Hymnal 


BY 

CARL  F.  PRICE 


NEW  YORK:  EATON  &  MAINS 
CINCINNATI:  JENNINGS  &  GRAHAM 


Copyright,  1911  by 
EATON  &  MAINS 


0p  Jfatfjer 


3 


CONTENTS 

PAGE 


Preface   7 

Introduction   9 

Part  I.   The  Hymnal 

I.  The  Genealogy  of  the  Methodist  Hymnal   15 

II.  The  Making  of  the  Hymnal   30 

III.  The  Completed  Hymnal  of  1905   42 

Part  II.  The  Hymns 

IV.  The  Story  of  the  Hymns   59 

V.  The  Hymn- Writers   95 

VI.  The  Theology  of  the  Hymns   129 

VII.  The  Literary  Beauties  of  the  Hymns   144 

Part  III.    The  Tunes 

VIII.  The  Story  of  the  Tunes  and  their  Composers   169 

IX.  The  Titles  of  the  Tunes   203 

X.  Descriptive  Music   217 

XI.  The  Formal  Elements  of  the  Music   233 

Part  IV.    Practical  Uses  of  the  Hymnal 

XII.  How  to  Use  the  Hymnal   247 

Appendix   283 

Index   287 


LIST  OF  ILLUSTRATIONS 


Charles  Wesley  Frontispiece 

FACING  PAGE 

Title-page  of  John  Wesley's  First  Hymn  Book   15 

Specimen  Page  of  John  Wesley's  First  Hymn  Book   16 

Autograph  Letter  from  Cardinal  Newman   66 

Autograph  Copy  of  Dr.  William  F.  Warren's  Hymn,  I 

Worship  Thee,  O  Holy  Ghost.''   109 


6 


PREFACE 


To  present  a  dictionary  of  hjmanology,  or  even  to 
collect  critical  notes  upon  all  of  the  seven  hundred 
hymns  in  the  Methodist  Hymnal,  is  not  the  purpose 
of  this  Uttle  book:  for  it  would  be  impossible  to  do 
this  adequately  within  the  limits  of  space  imposed 
upon  our  study;  and,  besides,  the  more  detailed 
treatment  of  the  hymns  (though  not  of  the  tunes) 
has  already  been  ably  presented  by  other  hym- 
nologists  of  the  Church.  But  as  there  has  often 
been  expressed  the  need  of  a  brief  introduction  to 
the  Hymnal,  its  history,  its  hymns  and  tunes,  its 
theology,  its  musical  and  literary  beauties,  together 
with  helpful  suggestions  to  pastors  and  prayer- 
meeting  leaders — in  a  word,  a  practical  guide  to 
the  Hymnal — this  has,  therefore,  been  attempted  by 
the  author.  Whatever  imperfections  may  mar  the 
work,  it  is  the  devout  hope  of  the  author  that  this 
study  may  be  of  some  service  to  the  Master's  cause 
in  stimulating  a  deeper  mterest  in  the  meaning  and 
use  of  the  hymns  and  tunes. 

Hymn-stories  are  told  herein,  some  of  them  drawn 
from  the  common  reservoirs  of  hymnology,  a  few  re- 
cited in  these  pages  for  the  first  time,  but  for  the 
purpose  more  of  suggesting  typical  conditions  under 
which  hymns  are  written  or  sung  or  quoted,  than 
of  explaining  particular  hymns. 

We  beg  the  indul'^ence  of  the  Gentle  Reader  if  the 
7 


8 


PREFACE 


discussion  become  somewhat  technical  in  a  few 
passages,  such  as  those  addressed  especially  to  the 
versifier,  or  the  musical  theorist,  or  the  professional 
hymnal  editor;  for  each  of  these  classes  may  find 
in  the  Hymnal  much  material  especially  worthy  of 
their  study. 

Our  acknowledgments  are  due  to  many  friends, 
who  have  given  to  us  valuable  assistance;  to  the 
sainted  Bishop  Goodsell,  Chairman  of  the  Hymnal 
Commission,  who  during  winter  evenings,  most  de- 
lightful and  precious  in  memory,  explained  to  the 
author  many  of  the  beauties  of  the  Hymnal;  to 
Professor  C.  T.  Winchester  and  to  Professor  Karl  P. 
Harrington  for  the  story  of  the  preparation  of  the 
Hymnal;  to  Mr.  Frederick  Schlieder  for  criticism  on 
the  musical  sections  of  the  book;  to  Dr.  Charles  M. 
Stuart  and  Dr.  W.  F.  Tillett,  editors  of  the  Hymnal, 
and  to  Professor  Peter  C.  Lutkin  for  helpful  letters; 
to  Mr.  Dewitt  Miller,  the  owner  of  the  Cardinal 
Newman  manuscript,  for  permission  to  use  it  as  an 
illustration;  to  Mr.  A.  S.  Newman,  whose  remark- 
able hymnological  library  has  been  of  great  assist- 
ance; to  the  Methodist  Historical  Library,  where 
helpful  material  was  placed  at  our  disposal;  and  to 
those  composers  and  hymn-writers,  whose  stories  are 
told  for  the  first  time  in  these  pages.  The  Christian 
Advocate  and  the  Epworth  Herald  we  also  thank  for 
permission  to  reprint  articles  upon  hymnology  by 
the  author,  which  first  appeared  in  those  periodicals. 

Carl  F.  Price. 

New  York  City,  June  1,  1911. 


INTRODUCTION 

In  the  presence  of  music  the  meditative  soul 
contemplates  a  mystery.  Music  wields  powers  em- 
ployed by  no  other  art;  for  the  musical  art  alone 
can  stir  the  emotions  without  depicting  objects  or 
episodes  such  as  the  representative  arts  demand  as 
a  vehicle  for  expression.  Music  speaks  directly  to 
the  heart.  It  is  the  language  of  the  emotions.  And 
perhaps  it  is  because  God  sometimes  speaks  directly 
to  the  heart  of  man  that  the  poets  have  called 
music  '^the  Divine  Art."  But  all  art  is  in  a  sense 
sacred,  and  perhaps  Carlyle  best  describes  the  at- 
tributes of  music  when  he  declares: 

'^Music  is  a  kind  of  inarticulate,  unfathomable 
speech,  which  leads  us  to  the  edge  of  the  infinite 
and  impels  us  for  a  moment  to  gaze  into  it.'' 

Whether  or  not  music  possesses  a  divine  quality 
unshared  by  the  other  arts,  music  has  become  the 
most  helpful  of  all  the  arts  in  the  worship  of  the 
Divine  Father.  Said  Michael  Prsetorius:  ^ 'Music,  in 
the  opinion  of  many,  ranks  second  only  to  faith  and 
religion."  And  said  Chateaubriand:  ''Music  is  the 
child  of  prayer,  the  companion  of  religion."  With 
what  reverence  music  was  esteemed  in  the  Protes- 
tant Reformation  may  be  understood  from  these 
words  of  Martin  Luther: 

"Next  to  theology  I  give  to  music  the  highest 
place  and  honor. 

9 


10 


INTRODUCTION 


* 'Music  is  the  art  of  the  prophets — the  only  art  that 
can  calm  the  agitations  of  the  soul:  it  is  one  of  the  most 
magnificent  and  delightful  presents  God  has  given  us.'' 

In  quite  another  sense  hymn-writing  may  be  re- 
garded as  a  Divine  Art,  since  its  theme  is  divinity 
itself — since  its  noblest  forms  demand  nothing  short 
of  the  highest  art.  The  hymn  of  praise  is  almost  as 
ancient  as  divine  worship.  Each  successive  age  has 
employed  the  hymn  for  an  expression  of  the  most 
intense  spiritual  emotion.  Moses,  the  law-giver  and 
God-inspired  leader  of  his  people,  crowned  his  won- 
derful career  of  achievement  with  a  hymn  of  praise 
to  Him,  who  made  possible  all  of  IsraeFs  victories. 
David,  the  shepherd,  the  harpist,  the  great  execu- 
tive and  king,  the  brilliant  military  general,  gave 
vent  to  the  titanic  emotions  of  his  spirit  in  the  most 
wonderful  body  of  hymns  ever  written — the  Psalms. 
The  Virgin  Mary,  to  whom  the  angel  had  whispered 
the  sweetest  secret  since  the  world  began,  pro- 
claimed the  exalted  joy  of  her  soul  in  the  Magnificat. 
The  stories  of  these  and  other  ancient  Hebrew 
hymns  are  but  counterparts  of  the  stories  of  modern 
hymns;  for  out  of  life  have  been  wrought  the  best 
hymns,  out  of  sorrow  and  soul-conquest,  out  of  joy 
and  revelation.  And  it  is  the  element  of  the  hviman 
soul  needs,  common  to  all  ages,  common  to  all  con- 
ditions of  men,  and  the  all-suflBciency  of  God  to 
meet  every  last,  deepest  need  of  the  soul,  that  has 
enabled  a  hundred  generations  of  men  to  appro- 
priate these  ancient  hymns  as  their  own  expression 
of  faith  and  worship. 


INTRODUCTION 


II 


Thus  the  greatest  hymns  come  to  be  used  by  all 
ages.  The  psalms  of  IsraeFs  camp-fires  and  the 
hymn  of  the  Apostles  at  the  Last  Supper  blend  in 
thought  and  emotion  with  the  hymns  of  these  later 
centuries  in  one  grand  Hymn  of  the  Race  to 

^'Our  Maker,  Defender,  Redeemer  and  Friend/' 

When  these  two  divine  arts  are  united — music  and 
hymn-writing — each  divine  in  its  own  peculiar  sense, 
worship  finds  its  noblest  expression,  prayer  its  most 
beautiful  form,  and  praise  its  loftiest  utterance.  In 
view  of  the  peculiarly  sacred  office  of  the  singing  of 
hymns,  it  were  sacrilege  to  employ  them  either  with 
flippancy  or  indifference.  Indeed,  to  meditate  de- 
voutly upon  the  hymms  and  their  music,  to  study 
their  meaning  and  message,  and  to  comprehend  the 
purpose  of  hymn-singing  is  to  intensify  one's  rev- 
erence for  music  and  hymnody. 

Melancthon,  once  passing  along  the  street  at 
Weimar  with  his  friends  in  banishment,  heard  a 
little  girl  singing  in  clear,  sweet  tones  the  great 
hymn  of  their  beloved  leader,  Luther: 

mighty  fortress  is  our  God,'' 

and  at  once  he  exclaimed,  '^Sing  on,  little  maid;  for 
you  little  know  what  hearts  you  are  comforting." 
The  Church  of  God  knows  not  what  hearts  are  being 
cheered,  what  faith  is  being  stimulated,  what  souls 
are  being  saved  by  the  singing  of  the  sacred  hymns 
of  the  ages.  Those  to  whom  hymn-singing  becomes 
merely  perfunctory  are  apt  to  forget  what  a  potent 


12 


INTRODUCTION 


influence  hymns  exert  upon  life,  and  the  motives 
that  control  human  action.  That  life  which  ex- 
presses itself  only  in  hymn-singing  is  to  be  despised. 
But  the  life  that  seeks  nobility  of  achievement  often 
finds  its  most  helpful  inspiration  in  Christian  hynrns, 
that  sing  their  truths  into  the  heart  of  mankind 
and  reecho  the  divine  love-songs  of  the  Eternal 
Lover  of  the  Soul. 


PART  I 
THE  HYMNAL 


13 


COLLECTION 

OF 

PSALMS 

AND 

HYMNS. 


Primed  by  Laww  Tih^tuh,  1717. 


Title-page  of  John  Wesley's  First   Hymn  Book,  said 
to  be  not  only  the  First  Hymn  Book  published 
in  America,  but  "  the  First  Hymn  Book  com- 
piled for  use  in  the  Church  of  England" 


CHAPTER  I 


THE  GENEALOGY  OF  THE  METHODIST  HYMNAL 

Early  Wesleyan  Hymnals — Successive  Hymnals  of  the 
Methodist  Episcopal  Church  and  the  Methodist 
Episcopal  Church,  South 

In  the  light  of  subsequent  ecclesiastical  events,  it  is 
of  peculiar  significance  to  American  Methodists  that 
the  first  hymnal  ever  published  for  use  in  the  Church 
of  England  was  prepared  by  John  Wesley  in  1736,  and 
was  first  printed  in  1737  in  Charlestown,  Georgia. 
John  Wesley  was  then  a  foreign  missionary  from  Eng- 
land to  the  distant  shores  of  Georgia.  Two  striking 
characteristics  of  his  wonderful  career  were  early  dis- 
played in  the  making  of  that  hymnal;  his  high  hym- 
nodic  interest  and  ability,  and  his  remarkable  capacity 
for  work,  in  that  he  was  able  to  add  to  the  exacting 
duties  of  an  active  foreign  missionary  the  preparation 
of  a  pioneer  hymn  book. 

Only  two  copies  of  this  hymnal  are  now  known  to 
exist.  JuHan^s  ^  ^Dictionary  of  Hymnology^'  errs  in 
stating  that  but  one  copy  is  known,  and  that  it  is  in 
England;  for  a  copy  is  now  in  possession  of  the  Public 
Library  in  New  York  City.  This  copy,  in  a  good 
state  of  preservation,  bears  upon  the  title-page  the 
legend:  ''A  Collection  of  Psalms  and  Hymns,  Charles- 
Town,  Printed  by  Lewis  Timothy,  1737.'^  The  editor- 
ship and  authorship  of  the  threescore  and  ten  h3anns 
are  not  disclosed,  though  hymnology  has  clearly 

15 


16 


MUSIC  AND  HYMNODT 


demonstrated  this  to  be  Wesley's  collection.  The 
first  forty  hymns  are  for  use  on  Sunday,  the  next 
twenty  on  Wednesday  or  Friday,  the  rest  on  Saturday. 

Not  until  1760  was  the  next  important  hymnal  of 
the  Church  of  England  prepared  (by  M.  Madan),  com- 
posed chiefly  of  the  hymns  of  Wesley  and  Watts. 
During  that  time  Methodism  as  an  active,  successful 
propaganda  had  become  established,  though  not  yet 
as  a  separate  organized  Church;  and  ever5rwhere  the 
Wesleyan  doctrines  were  being  taught  effectively 
through  hymns,  as  well  as  through  the  preaching  of 
the  Word.  Charles  Wesley  published  over  fifty  books 
and  pamphlets  of  hymns  during  his  hymnodic  career. 

The  particular  collection,  to  which  all  subsequent 
Wesleyan  Methodist  hymnals  trace  their  genealogy, 
that  golden  book  of  Wesley's,  that  has  exerted  the 
largest  influence  upon  Methodism  everywhere,  was 
the  famous  Wesley  collection  of  1780.  This  book,  as  we 
shall  see  in  another  chapter,  was  retained  practically 
intact  by  the  Wesleyan  Methodists  as  a  nucleus  for 
their  successive  hymnals  in  the  nineteenth  century, 
forming  the  middle  one  of  three  parts,  into  which  the 
collection  naturally  divided  itself.  In  the  present 
Wesleyan  Hymnal  its  architecture  is  still  to  be  traced. 

One  of  the  most  popular  Methodist  hymnals  of  the 
latter  part  of  the  eighteenth  century  in  England, 
though  unauthorized  by  the  Wesleys,  was  the  famous 
^Tocket  Hymn  Book,''  compiled,  edited,  and  pub- 
lished by  Robert  Spence,  of  York,  about  1784.  Start- 
ing out  as  a  coachman,  Spence  had  come  under  the 
influence  of  Methodist  preaching,  and  not  only  became 


P  S  A  L  M  S  and  H  Y  M  N  S 
JF(?r  Sunday* 

1. 

Pfalm  XXXIir. 

1  \7'E  holy  SouIs»  in  God  rejoice, 

X  Your  Maker's  Praife  becomes  your  Voice; 

Great  is  your  Theme,  your  Songs  be  ucw 
Sing  of  bit  K:im«,  bis  Word,  his  Ways, 
His  Works  of  Karure  and  of  GracCt 

How  wife  and  holy,  ju ft  and  true  ! 

2  Juftice  and  Truth  he.  ever  loves, 

And  the  whole  Earth  his  Goodncrs  proves ; 

His  Word  the  heavenly  Arches  fprcad  ; 
Howr  wide  they  fhine  from  Norch  to  Souch ! 
And  by  the  Spirit  of  his  Mourh 

Were  all  the  Starry  Armies  made. 

3  Thou  gathercf^  the  v?ide- (lowing  Scss  ; 
Thofc  watry  Trealurcs  know  their  Place 

In  the  vaft  Store- houfc  of  the  Deep  ; 
He  fpake,  and  (^avcall  N;iturc  Birth  , 
And  Fires  and  Sea^  and  Heaven  and  Eartb 

His  cverialUng  Orders  keep- 

4  Let  Mortals  trcmbk  and  adore 
A  GOD  of  fuch  rdiftlcG  Power, 

Nor  dare  iiidulge  rhelr  ictbiz  Rsgc  : 
yain  are  your  Thoughts  snd  weak  your  Hands, 
Bljc  his  eremal  Counfl-i  ftands. 

And  raies  rh?  World  from  Age  tc  A^e.  . 

A  a  JL 


Specimen  Page  of  John  Wesley's  First  Hymn  Book 


GENEALOGY  OF  METHODIST  HYMNAL  17 


converted,  but  also  started  on  a  new  business  career 
that  developed  him  into  a  prominent  publisher.  John 
Wesley  severely  criticized  this  ^ ^bookseller  of  York'' 
for  using  so  many  of  the  Wesley  hymns  from  the  1780 
hymnal  without  permission.  Nevertheless,  the  book 
continued  to  gain  wider  acceptance. 

That  same  year,  1784,  in  America,  there  assembled 
the  famous  Christmas  Conference  in  Baltimore,  from 
which  the  Methodist  Episcopal  Church  dates  its  formal 
existence.  Bishop  Coke,  who  was  appointed  by 
Wesley  to  the  Methodists  in  America,  was  an  intimate 
friend  of  Robert  Spence:  and  it  is  not  surprising, 
therefore,  that  the  first  hymnal  introduced  into 
America  after  the  organization  of  the  new  Church  was 
a  reprint  of  the  York  ^Tocket  Hymn  Book''  of  Robert 
Spence.  Its  title  both  in  England  and  in  America  was 
the  same:  ^^A  Pocket  Hymn  Book,  Designed  as  a 
Constant  Companion  for  the  Pious.  Collected  from 
Various  Authors."  Its  size  also  was  the  same,  the 
covers  being  five  and  one  half  by  three  and  one  half 
inches,  and  the  pages  being  four  and  one  half  by  two 
and  one  half. 

The  Preface  to  the  American  edition  states  among 
other  paragraphs:  '^We  intend  to  strike  off  an  im- 
pression of  twenty  or  thirty  thousand  copies,  that 
the  general  cry  from  congregations  that  they  cannot 
purchase  Hymn  Books  will  be  stopped.  The  Hymn 
Books  which  have  been  already  published  among  us 
are  truly  excellent.  The  select  Hymns,  the  double 
collection  of  Hymns  and  Psalms,  ....  and  the  Re- 
demption Hymns  display  great  spirituality,  as  well  as 


18 


MUSIC  AND  HYMNODY 


purity  of  diction.  The  large  Congregational  Hymn 
Book  is  admirable,  indeed,  but  it  is  too  expensive  for 
the  poor,  who  have  little  time  and  less  money.  The 
Pocket  Hymn  Book,  lately  sent  abroad  in  these  States, 
is  a  most  valuable  performance  for  those  who  are  deeply 
spiritual,  but  is  better  suited  to  the  European  Meth- 
odists. ...  All  the  excellencies  of  the  former  publica- 
tions are,  in  a  great  measure,  centered  in  the  present, 
which  contains  the  choicest  and  most  precious  of  the 
Hymns  that  are  to  be  found  in  the  former  editions; 
and  at  the  same  time  is  so  portable  that  you  may 
always  carry  it  with  you  without  the  least  incon- 
venience.'' 

An  early  suggestion  of  the  benevolent  arrangement 
that  has  prevailed  throughout  the  history  of  the 
Methodist  Episcopal  publishing  house,  of  devoting  the 
profits  of  the  Concern  to  philanthropy,  is  seen  in  this 
paragraph  of  the  Preface :  ^  We  are  the  more  delighted 
with  this  design,  as  no  personal  advantage  is  concerned 
but  the  public  good  alone.  For,  after  the  necessary 
expenses  of  printing  and  binding  are  discharged,  we 
shall  make  it  a  noble  charity,  by  applying  the  profits 
arising  therefrom  to  the  heavy  debts  of  our  Churches 
and  Colleges.  No  motive  of  a  sinister  nature  has 
therefore  influenced  us  in  any  degree  to  publish  this 
excellent  Compilation.  It  has  received  the  appro- 
bation of  the  Conferences.'' 

The  churches  are  begged  to  purchase  "no  Hymn 
Books,  but  what  are  signed  with  the  names  of  your 
two  Bishops";  and,  finally,  they  are  exhorted  "to  sing 
with  the  Spirit  and  with  the  understanding  also :  and 


GENEALOGY  OF  METHODIST  HYMNAL  19 


thus  may  the  high  praises  of  God  be  sent  up  from  East 
to  West,  from  North  to  South ;  and  we  shall  be  happily 
instrumental  in  leading  the  Devotions  of  Thousands 
and  shall  rejoice  to  join  you  in  Time  and  Eternity. 
We  are,  Dear  Brethren,  your  faithful  Pastors  in 
Christ,  Thomas  Coke,  Francis  Asbury/'  This,  then, 
was  the  first  official  hymnal  of  the  Methodist  Epsicopal 
Church. 

The  General  Conference  of  1800  in  appointing 
Ezekiel  Cooper  to  be  superintendent  of  the  book  busi- 
ness of  the  Church,  authorized  him  to  publish  books 
or  tracts,  approved  or  recommended  by  the  Book 
Committee.  The  hymnal  then  in  use,  not  being  pro- 
tected by  copyright,  was  being  published  also  by 
another  concern.  For  this  and  probably  other 
reasons  a  revision  was  made,  and  a  new  hymnal  was 
published  in  1802,  bearing  practically  the  same  title- 
page,  adding  a  quotation  from  Psa.  104.  33,  and  the 
legend:  'Thiladelphia,  Printed  by  Solomon  W.  Con- 
rad, For  Ezekiel  Cooper,  No.  118  North  Fourth  Street, 
near  the  Methodist  Church.''  The  same  Preface,  as 
in  the  preceding  hymnal,  with  slight  variations,  bears 
the  signatures  of  Thomas  Coke,  Francis  Asbury,  and 
Richard  Whatcoat.  The  material  of  the  old  book  is 
here  rearranged  and  revised,  a  few  hymns  added,  and 
'^the  poetical  numbers  and  measurement  of  some  of 
the  old  hymns  improved,  that,  according  to  the  rules 
of  music,  they  may  agree  better  with  the  tunes  to 
which  they  are  sung.  Also,  in  place  of  certain  words 
and  sentiments,  others  are  introduced,  which  appear 
more  proper  and  harmonious. 


20 


MUSIC  AND  HYMNODY 


In  1808  another  book  was  added  to  the  hymnal. 
At  the  General  Conference  of  this  year  Ezekiel  Cooper 
resigned,  after  having  increased  the  assets  of  the  Book 
Concern  from  $4,000  to  $45,000;  and  John  Wilson  was 
elected  his  successor  as  editor  and  book  steward,  with 
Daniel  Hitt  as  his  assistant.  To  this  Conference 
Daniel  Hitt  submitted  a  collection  of  manuscripts, 
which  he  had  prepared  evidently  in  collaboration  with 
Bishop  Asbury,  as  we  find  such  references  in  Asbury's 
diary  as  these:  '^August  2,  1807:  I  have  hastily 
marked  above  two  hundred  hymns,  taken  from  the 
congregational  hymn  book,  to  add  to  a  new  American 
edition,  which,  I  hope,  will  be  as  good  as  any  extant.'' 
^^August  30.  The  hymns  for  collection  occupied  my 
mind  much.''  ^^Nov.  3.  Both  Daniel  Hitt  and  myself 
preached.  Nov.  4.  We  were  diligently  occupied  with 
our  projected  hymn  book.  6.  We  were  engaged  with 
our  collection  of  hymns,"  etc. 

At  the  same  Conference  James  Evans  of  New  York 
made  a  proposal  ^^for  publishing  a  music  book  as  a 
standard  for  the  use  of  the  Methodist  Churches 
throughout  the  United  States."  The  Committee  of 
Review  reported  adversely  on  the  tune  book,  but  in 
favor  of  publishing  the  manuscripts  of  Daniel  Hitt  as  a 
separate  book  bound  together  with  the  old  book,  ad- 
vising, however,  the  alteration  of  some  of  the  hymns. 
This  report  was  adopted  two  days  later.  That  this 
revision  did  not  consume  much  time  is  evidenced  by 
the  fact  that  the  new  Supplement  was  copyrighted 
September  28,  1808,  joining  its  destinies  with  the  old 
book,  and  forming  what  came  to  be  known  as  ^The 


GENEALOGY  OF  METHODIST  HYMNAL  21 

Double  Hymn  Book/'  The  title  of  the  Supplement 
was  ^'A  Selection  of  Hymns,  from  Various  Authors, 
Designed  as  a  Supplement  to  the  Methodist  Pocket 
Hymn  Book,  Compiled  under  the  direction  of  Bishop 
Asbury  and  Published  by  Order  of  the  General  Con- 
ference/' Beneath  a  quotation  from  2  Cor.  3.  16  were 
the  words:  ^Tirst  Edition,  New  York,  Published  by 
John  Wilson  and  Daniel  Hitt,  For  the  Methodist 
Connection  in  the  United  States.  John  C.  Totten, 
Printer,  1808."  The  reason  for  the  change  of  the 
place  of  publication  from  Philadelphia  to  New  York 
was  that  by  vote  of  the  General  Conference  of  1804 
the  Book  Concern  had  been  moved  from  Philadelphia, 
where  it  had  become  unwelcome,  and  of  the  two  cities 
proposed  for  its  new  home  New  York  had  prevailed  by 
a  majority  of  two. 

The  old  Pocket  Hymn  Book  contained  320  hymns, 
the  new  Supplement  328.  The  Preface,  unsigned  in 
the  first  edition,  but  signed  in  some  later  editions  by 
Francis  Asbury  and  William  McKendree,  makes  this 
apology  for  the  Supplement:  '^Although  we  esteem 
our  Hymn  Book  in  present  use,  among  the  best,  yet  in 
the  great  and  glorious  increase  of  our  Church  it  has 
been  thought  defective  in  size.'^  The  Supplement 
passed  under  the  review  of  a  committee  from  each 
Annual  Conference  with  approbation.  It  is  curious 
to  note  in  the  back  of  the  Supplement  the  advertise- 
ment of  some  of  the  publications  of  the  Book  Concern. 
The  Supplement  was  also  published  as  a  separate 
volume. 

In  1821  a  new  Hymnal,  copyrighted  October  30, 


22  *  MUSIC  AND  HYMNODY 


was  "published  by  N.  Bangs  and  T.  Mason  for  the 
Methodist  Episcopal  Church.  Abraham  Paul,  Prin- 
ter/' Its  title  eliminated  the  phrase  "Pocket  Hymn 
Book''  for  the  first  time:  "A  Collection  of  Hymns  for 
the  Use  of  the  Methodist  Episcopal  Church,  princi- 
pally from  the  collection  of  the  Rev.  John  Wesley, 
M.A.,  late  fellow  of  Lincoln  College,  Oxford."  This 
Hymnal  contained  604  hymns,  two  doxologies,  and  a 
scriptural  index.  The  preface,  containing  a  few  of 
the  phrases  in  previous  prefaces,  explains  the  relation 
of  this  Hymnal  to  its  predecessor:  "The  greater  part 
of  the  hymns  contained  in  the  former  selection  are  re- 
tained in  this,  and  several  from  Wesley's  and  Coke's 
collections,  not  before  published  in  this  coimtry,  are 
added.  The  principal  alterations  which  have  been 
made  consist  in  restoring  those  which  have  been 
altered,  as  was  believed  for  the  worse,  to  their  original 
state,  as  they  came  from  the  poetical  pen  of  the  Wes- 
leys,  for  the  following  hymns  were,  except  a  few  which 
have  been  taken  from  other  authors,  composed  by 
the  Rev.  John  and  Charles  Wesley — names  that  will 
ever  be  held  dear  and  in  high  estimation  by  every 
lover  of  sacred  poetry." 

On  February  18,  1836,  a  fire  destroyed  the  building 
of  the  Methodist  Book  Concern  on  Mulberry  Street, 
New  York  city,  with  a  loss  of  $250,000.  Many  of  the 
plates  of  the  Methodist  publications  were  totally 
destroyed,  including  the  Hymnal  plates.  This  neces- 
sitated a  new  edition  of  the  book  then  in  use.  Dr. 
Nathan  Bangs,  the  book  steward,  prepared  this  new 
edition,  adding  a  new  Supplement. 


GENEALOGY  OF  METHODIST  HYMNAL  23 


When  in  the  year  1844  the  question  of  episcopal 
rights  and  its  special  relation  to  slavery  had  hopelessly 
divided  the  councils  of  our  Church,  and  it  was  deemed 
wise  to  the  Southern  Conferences  of  the  Methodist 
Episcopal  Church  that  they  should  separate  and  form 
a  Church  of  their  own,  a  plan  was  proposed  whereby 
the  separation  should  be  consummated  regularly  and 
in  order.  The  regularity  of  the  actual  division  of 
Methodism  into  two  bodies  was  not  recognized  by  the 
Methodist  Episcopal  Church,  however,  until  1876, 
when  the  bitterness  of  the  lamentable  dispute  gave 
way  to  the  affectionate  interchange  of  fraternal  rela- 
tions between  the  two  great  bodies  of  Methodism  in 
America. 

In  May,  1846,  the  Southern  Conferences  met  in 
Petersburg  for  the  first  General  Conference  of  the 
Methodist  Episcopal  Church,  South,  under  whose 
authority  the  forms  of  the  new  Church  were  perfected. 
One  question  which  demanded  decision  was  the 
preparation  of  a  new  Hymnal.  This  was  first  brought 
before  the  General  Conference  on  May  5  by  a  resolution 
signed  by  William  M.  Wightman  and  Thomas  0.  Sum- 
mers, which  we  quote  in  full,  because  of  its  importance 
as  the  first  officially  recorded  step  toward  a  Hymnal 
of  the  Methodist  Episcopal  Church,  South: 

WhereaSy  It  is  highly  desirable  that  various  changes  and 
improvements  should  be  made  in  a  new  edition  of  the  Meth- 
odist Hymn  Book,  to  be  published  under  the  authority  of  this 
General  Conference;  therefore^ 

Resolvedj  That  a  committee  of  five  be  appointed  to  prepare 
such  a  work  for  publication,  as  soon  as  possible,  giving  in 
every  case  the  name  of  the  author  of  the  hynm,  increasing 
the  number  of  conamon,  long,  and  short  meters,  by  selecting 


24 


MUSIC  AND  HYMNODY 


from  the  authorized  Wesleyan  Hymn  Book,  and  other  ap- 
proved sources,  and  excluding  some  of  the  particular  meters, 
which  are  unsuitable  for  the  ordinary  congregational  singing, 
introducing  into  the  body  of  the  Hymn  Book  any  valuable 
hynms  not  to  be  found  in  the  Supplement,  and  dispensing 
with  the  remainder  and  making  such  alterations  in  the  method 
and  arrangement  of  the  subjects  as  they  may  deem  ad- 
visable. 

Although  the  resolution  was  promptly  tabled  for  the 
time  being,  it  was  taken  from  the  table  three  days 
later  and  referred  to  the  committee,  which  barely 
escaped  being  instructed  '^to  report  to  this  Conference 
within  six  days  what  particular  meter  hjnnns  they 
propose  to  exclude'^ — an  almost  impossible  task  for  a 
hjnnnal  commission  in  the  midst  of  the  excitement 
and  work  of  so  constructive  a  General  Conference  as 
this  was.  The  following  day,  May  9,  it  was  voted  by 
the  Conference  that  the  ^  ^Committee  on  Revision  and 
Publication  of  our  Hymn  Book  be  not  required  to 
report  to  this  Conference,  but  that  they  be  authorized 
to  proceed,  as  soon  as  may  be,''  to  prepare  the  Hymnal 
and  have  it  published.  On  May  23,  shortly  before  the 
adjournment  was  taken,  the  Bishop  appointed  as  a 
Committee  on  the  Hymn  Book,  Thomas  0.  Summers, 
William  M.  Wightman,  Jefferson  Hamilton,  White- 
ford  Smith,  and  Augustus  B.  Longstreet.  The  Hymnal 
which  they  published  was  in  constant  use  by  the 
Church  until  1886.  Efforts  were  made  from  time  to 
time  to  modify  or  supplant  the  book.  At  the  General 
Conference  of  1858  a  resolution  and  a  memorial  asking 
for  a  Tune  Book  were  referred  to  the  Committee  on 
Time  Hymn  Book,  who,  with  the  assent  of  the  General 
Conference,  referred  it  all  to  the  book  agent,  book 


GENEALOGY  OF  METHODIST  HYMNAL  25 


editor,  and  Book  Committee,  with  instructions  to  take 
such  steps  as  were  advisable. 

On  May  24  of  the  1870  General  Conference  in  the 
South  the  Committee  on  Books  and  Periodicals  re- 
ported in  favor  of  authorizing  the  general  book  agent 
to  publish  a  hymn  and  tune  book,  appointing  as  a 
committee  to  compile  the  book  Dr.  J.  M.  Bonnell,  Dr. 
Thomas  0.  Summers  (one  of  the  signers  of  the  original 
resolution  in  1846),  and  Dr.  W.  P.  Harrison.  This 
book  was  intended  as  an  abridgment  of  the  official 
Hymnal  for  use  in  the  poorer  churches.  On  May  13 
it  is  recorded  that  Professor  Mcintosh  (composer  of 
one  of  our  hymn  tunes)  was  introduced  by  the  Bishop 
to  the  Conference,  and  led  the  Conference  in  singing 
^'beautiful  pieces  from  the  new  Hymn  and  Tune  Book, 
published  by  order  of  the  General  Conference  of  1870.^^ 
Again  on  May  24,  1878,  the  committee  reported 
against  the  publication  of  a  new  smaller  Hymnal 
because  of  the  possibility  of  an  Ecumenical  Methodist 
Hymn  Book.  A  resolution  passed,  however,  the  same 
day,  allowing  the  book  editor,  the  Book  Committee, 
and  one  bishop  at  pleasure  to  publish  a  small  hymn  or 
song  book,  suited  to  revival,  prayer,  and  social  meet- 
ings. 

In  1886  a  new  Hymnal  was  authorized  to  take  the 
place  of  the  old  book  that  had  done  good  service  since 
1846.  The  Committee  on  Hymn  Book  reported  on 
May  19,  referring  to  a  pan-Methodistic  Hymnal,  but 
begging  "to  be  excused  from  further  consideration  of 
the  subject  in  the  absence  of  any  definite  information 
as  to  the  wishes  and  purposes  of  our  sister  Churches," 


26 


MUSIC  AND  HYMNODY 


On  May  22,  however,  their  report  as  adopted  author- 
ized the  College  of  Bishops  to  appoint  a  committee  of 
nine,  to  be  divided  into  three  equal  sections,  as  was 
the  Methodist  Episcopal  Hynmal  Committee  of  1878. 
This  committee  was  instructed  to  prepare  a  Hjmmal 
imder  these  rules:  No  hymn  to  be  excluded  without  a 
two-thirds  vote;  no  hymn  not  in  the  Hymnal  to  be 
admitted  without  a  two-thirds  vote;  the  numbers  in 
the  indexes  shall  refer  to  the  hynms.  It  was  recom- 
mended that  those  hjTims  be  excluded  which  are 
rarely  or  never  used  in  public  or  social  worship,  that 
when  it  can  be  judiciously  done  the  long  hymns  be 
abridged,  and  that  none  exceed  twenty-four  lines;  that 
particular  attention  be  paid  to  arrangement  and 
classification  of  h}Tans  according  to  subjects;  that  the 
whole  number  of  hymns  do  not  exceed  800.  This 
Hymnal,  first  published  in  April,  1889,  was  the  book 
which  the  present  Methodist  Hjmmal  supplanted  in 
the  South.  It  contained,  besides  842  hymns,  a 
Supplement  of  seventy-six  sacred  songs  for  use  in 
prayer  meetings  and  Sunday  schools. 

Two  years  after  the  Methodist  Episcopal  Church, 
South,  in  their  1846  General  Conference  had  ordered  a 
new  H}Tnnal,  the  General  Conference  of  the  Methodist 
Episcopal  Church,  meeting  in  May,  1848,  also  decided 
upon  a  revision.  The  movement  was  officially  started 
by  the  Rev.  Dr.  James  Floy,  who  on  May  2  moved 
that  a  committee  of  seven  be  appointed  to  consider  the 
revisal  of  the  Hjmm  Book,  and  report  if  they  deemed 
improvement  necessary.  This  committee,  consisting 
of  C.  Elliott,  chairman,  Matthew  Simpson,  W.  Hosmer, 


GENEALOGY  OF  METHODIST  HYMNAL  27 


James  Floy,  David  Patten,  G.  F.  Brown,  and  Nelson 
Rounds,  reported  in  favor  of  the  revision,  which  the 
Book  Committee  in  New  York  had  joined  the  official 
editors  in  requesting;  and  the  report  stipulated  that 
the  committee  of  seven  be  appointed  by  the  General 
Conference,  that  they  submit  their  work  for  approval 
to  the  editors,  the  Book  Committee  at  New  York,  and 
the  bishops,  and  that  the  expenses  of  revision  be  de- 
frayed by  the  book  agents. 

One  amendment  to  the  report  proposed  to  make  a 
majority  of  the  committee  '^traveling  preachers  in  the 
regular  pastoral  work,''  and,  although  it  was  lost,  it 
voiced  a  feeling  still  prevalent,  that  pastors  are  good 
judges  of  what  the  Hjnnnal  should  be. 

A  nominating  committee  of  seven  was  appointed  on 
May  10,  and  on  May  23  reported  the  following  names 
for  the  Committee  of  Revision,  who  were  elected  forth- 
with: David  Dilley,  Philadelphia  Conference;  J.  B. 
Alverson,  Genesee  Conference;  James  Floy,  New 
York  Conference;  David  Patten,  Jr.,  Providence  Con- 
ference; F.  Merrick,  Ohio  Conference;  Robert  A. 
West,  of  Brooklyn:  David  Creamer,  Baltimore.  This 
Hymnal  was  in  use  for  three  decades — longer  than  any 
other  official  Hymnal  in  the  history  of  the  Church. 

No  important  effort  toward  another  revision  was 
made  until  1872,  and  even  then  the  effort  failed  of 
immediate  results;  for,  while  the  special  committee 
appointed  to  consider  the  question,  ^'Ought  the  Hymn 
Book  of  the  Methodist  Episcopal  Church  to  be  re- 
vised?'' reported  affirmatively,  the  General  Confer- 
ence did  not  adopt  its  report, 


28 


MUSIC  AND  HYMNODY 


Four  years  later,  1876,  a  flood  of  memorials  and 
resolutions  forced  the  question  before  the  General 
Conference  with  better  success.  On  May  4,  J.  N. 
Brown  successfully  presented  a  resolution  that  a 
committee  of  nine  be  appointed  to  consider  the  pro- 
priety of  revising  our  Hymn  and  Tune  Books,  so  as  to 
adapt  them  more  perfectly  to  general  use  in  all  our 
churches  and  congregations.  The  committee,  en- 
larged to  twelve,  reported  on  May  19  that  a  revision 
was  ^^imperatively  demanded,^'  and  that  the  General 
Conference  authorize  the  Board  of  Bishops  to  appoint 
a  committee  of  fifteen  to  be  divided  into  three  sections 
for  convenience,  and  to  meet  as  a  whole  after  each 
section  had  completed  its  assigned  work.  A  two- 
thirds  vote  was  necessary  for  the  admission  of  new 
hymns,  or  the  exclusion  of  old  hymns  from  the  book. 
The  work  when  completed  must  needs  be  submitted  to 
the  bishops  for  their  approval,  and  then  a  tune  book  be 
prepared  to  fit  the  Hymn  Book.  This  last  proved  to 
be  a  serious  embarrassment  to  the  musical  editors,  as 
they  were  obliged  to  rigidly  follow  the  order  fixed  for 
the  hymns,  so  that  some  hymns  had  to  be  sung  to 
tunes  in  another  part  of  the  book.  It  was  expressly 
stipulated  that  no  compensation  beyond  expenses  was 
to  be  paid  to  the  committee.  This  was  the  1878  book 
which  in  the  North  the  present  Methodist  Hymnal 
supplanted. 

A  committee  of  six,  the  Rev.  J.  H.  Vincent, 
afterward  elected  to  the  episcopacy  in  1888,  the 
Rev.  J.  S.  Chadwick,  James  M'Gee,  A.  S.  Newman, 
John  E.  Searles,  Jr.,  and  John  J.  Matthias,  was  ap- 


GENEALOGY  OF  METHODIST  HYMNAL  29 


pointed  by  the  General  Conference  of  1884  to  make  a 
hymnal  for  the  Sunday  schools,  and  the  excellent  ^'Ep- 
worth  Hymnal  No.  1''  was  the  result.  A  proposal  for 
an  interdenominational  hymnal  was  laid  before  the 
General  Conference  of  1892,  urging  the  Church  to  join 
the  Methodist  Episcopal  Church,  South,  the  Baptists, 
Presbyterians,  and  Congregationalists  in  preparing  a 
book  for  Sunday  schools,  yoimg  people,  prayer  meet- 
ings, and  revivals;  but  the  resolution  came  to  naught. 
In  the  General  Conference  of  1896  several  resolutions 
failed  of  passage  looking  to  the  publication  of  an 
abridged  edition  of  the  too  large  Hymnal  then  in  use. 
But  until  the  movement  which  resulted  in  the  present 
Methodist  Hymnal  no  effective  measures  were  taken 
to  supplant  or  revise  the  Hymnal  of  1878. 


CHAPTER  II 


THE  MAKING  OF  THE  HYMNAL 

Action  of  General  Conference — First  Committee — 
New  Joint  Commission,  North  and 
South — Musical  Editors 

At  the  close  of  the  nineteenth  century  there  was  a 
strong  feeUng  that  the  Methodist  Episcopal  Church 
was  in  need  of  a  new  Hymnal.  The  old  Hymnal  had 
been  in  use  for  about  a  quarter  of  a  century,  and  while 
it  had  served  the  needs  of  the  Church,  and  had  en- 
deared itself  to  Methodists  throughout  the  country, 
the  need  for  a  change  was  recognized  as  imperative. 
The  first  expression  given  to  this  sentiment  was  a 
series  of  memorials  and  resolutions  brought  before  the 
General  Conference  of  1900  from  various  sources.  The 
result  of  this  movement  was  Report  No.  12  of  the 
Committee  on  Book  Concern,  adopted  on  May  29  as 
signed  by  Hon.  Leslie  M.  Shaw,  chairman  of  the  com- 
mittee, then  governor  of  Iowa,  and  a  delegate  to  the 
General  Conference  from  the  Upper  Iowa  Conference : 

Dear  Fathers  and  Brethren:  Your  Committee,  to 
whom  were  referred  certain  memorials  relative  to  a  Church 
Hyminal,  beg  leave  to  submit  the  following  report: 

WhereaSy  The  present  Hynmal  contains  a  large  number  of 
hymns  which  are  rarely,  if  ever,  used,  and  are  therefore  un- 
necessary, and  render  the  book  too  large  and  too  expensive 
for  common  use;  and. 

Whereas,  A  large  number  of  our  churches,  especially  in 
small  towns  and  country  charges,  do  not  use  our  Church 
Hymnal  at  all,  but  in  its  place  a  variety  of  imofficial,  inde- 
pendent song  books,  and  which  in  many  cases  are  pernicious, 

30 


THE  MAKING  OF  THE  HYMNAL  31 


to  the  damage  of  the  Church  spiritually,  and  of  our  publishing 
interests  financially; 

Therefore,  there  is  hereby  authorized  the  preparation  of  a 
Hymnal  of  octavo  size,  of  about  six  hundred  hymns,  in  which 
there  shall  be  a  small  percentage  of  the  best  modern  hymns 
and  spiritual  songs,  and  also  the  ritual  and  order  of  service 
of  the  Methodist  Episcopal  Church,  the  same  to  be  sold  at 
the  lowest  practicable  cost. 

Your  Committee  further  recommends  that  the  Board  of 
Bishops  be  authorized  to  appoint  a  committee  of  nine  to 
carry  out  the  provisions  hereof. 

The  committee  of  nine  was  appointed  by  the  bishops 
in  accordance  with  the  resolution,  and  a  glance  at 
their  individual  records  is  a  convincing  evidence  that 
the  bishops  chose  wisely  the  makers  of  the  new  Hym- 
nal: 

The  Rev.  Dr.  Samuel  F.  Upham,  the  chairman  of  the 
committee,  had  been  a  pastor  in  the  Providence  and 
New  England  Conferences,  and  in  1881  was  elected 
professor  of  practical  theology  in  Drew  Theological 
Seminary.  His  death  occurred  on  October  5,  1904, 
before  the  deliberations  of  the  Joint  Commission  were 
completed. 

The  Rev.  Dr.  W.  A.  Quayle,  then  pastor  of  Saint 
James  Church,  Chicago,  and  afterward  (1908)  elected 
bishop,  has  long  been  recognized  as  one  of  the  most 
eloquent  preachers  in  American  Methodism,  as  well  as 
a  writer  of  purest  literary  style.  He  is  one  of  the  very 
few  bishops  elected  to  the  episcopacy  directly  from 
the  pastorate. 

The  Rev.  Dr.  Charles  W.  Smith,  then  editor  of  the 
Pittsburg  Christian  Advocate,  was  elected  bishop  by 
the  General  Conference  of  1908.  He  had  served  many 
pastorates  and  a  presiding  eldership  in  the  Pittsburg 


32 


MUSIC  AND  HYMNODY 


Conference  previous  to  his  election  to  the  editorship, 
in  1884. 

The  Rev.  Dr.  Charles  Macauley  Stuart  was  pro- 
fessor of  sacred  rhetoric  in  Garrett  Biblical  Institute 
at  the  time  of  the  revision,  after  having  served  as 
associate  editor  of  the  Michigan  Christian  Advocate 
and  the  Northwestern  Christian  Advocate,  of  which 
he  is  now  the  editor. 

The  Rev.  Dr.  Camden  M.  Cobern,  for  many  years 
a  pastor  in  the  Erie,  Detroit,  Colorado,  and  Rock 
River  Conferences,  was  elected  professor  of  English 
Bible  and  philosophy  of  religion  in  Allegheny  College, 
1906.  At  the  time  of  the  Hymnal  revision  he  was 
pastor  of  Trinity  Church,  Denver. 

The  Rev.  Dr.  Richard  Joseph  Cooke,  at  that  time 
editor  of  The  Methodist  Advocate  Journal  (Chatta- 
nooga, Tenn.),  had  been  active  for  years  as  preacher 
and  pastor,  and  as  professor  of  New  Testament  exege- 
sis and  historical  theology,  and  later  as  vice-chancellor 
and  acting  president  of  Grant  University.  The 
General  Conference  of  1904  elected  him  book  editor  of 
his  Church.  He  has  rendered  distinguished  service 
on  the  Commissions  on  the  Federation  of  Episcopal 
Methodism,  the  Constitution,  the  Ritual,  and  the 
Judiciary  Committee. 

The  Rev.  Dr.  Charles  S.  Nutter,  then  presiding 
elder  of  the  Saint  Albans  District  of  the  Vermont 
Conference,  is  well  known  throughout  Methodism  as 
the  author  of  '^Hymn  Studies, and  as  one  of  the  fore- 
most hymnologists  in  America. 

Caleb  T.  Winchester,  L.H.D.,  author,  lecturer,  and 


THE  MAKING  OP  THE  HYMNAL  3S  > 

since  1873  professor  of  English  literature  in  Wesleyan 
University,  has  long  been  regarded  in  the  literary 

world  and  among  the  colleges  as  a  distinguished  ] 
authority  upon  English  literature. 

Matthew  V.  Simpson,  the  son  of  Bishop  Simpson,  j 

was  a  business  man  in  Philadelphia.  I 

When  the  committee  held  its  first  meeting  in  New 

York  there  existed  some  doubt  as  to  what  the  nature  I 

of  the  new  Hymnal  should  be,  the  wording  of  the  j 

resolution  not  being  explicit  on  that  important  point.  | 

One  party  held  that  the  General  Conference  had  i 

authorized  only  a  prayer-meeting  book,  such  as  the  ^ 

Epworth  Hymnal  of  1884,  to  be  used  as  an  abridged  | 

form  of  the  general  Hymnal.    Another  party,  and  ] 

strongly  in  the  majority,  insisted  that  the  proposed  \ 
Hymnal  was  intended  to  supplant  the  Hymnal  of 
1878,  and  should,  therefore,  be  treated  as  a  revision  of 
that  book.    Upon  one  point  all  were  agreed,  and  that 
was  that  the  new  Hymnal  should  be  much  shorter 

than  the  old,  consisting  of  about  five  or  six  himdred  | 

hymns.  | 

It  was  toward  a  revision  of  the  Hymnal  that  the  | 

committee  finally  agreed  to  work,  and  in  their  subse-  I 

quent  meetings  they  had  made  great  progress  to  this  \ 

end,  when  suddenly  their  work  was  halted.    Already  | 

they  had  agreed  upon  a  large  proportion  of  the  hymns,  ] 

and  had  formulated  the  general  plan  of  the  book.    On  | 

January  16,  1902,  announcement  was  made  that  the  ] 

book  would  be  ready  for  the  press  in  August,  and  I 

printed  by  December.    It  might  be  interesting,  if  safe,  | 

to  conjecture  what  manner  of  Hymnal  this  first  com-  I 


] 


34 


MUSIC  AND  HYMNODY 


mittee  would  have  produced,  had  their  work  con- 
tinued without  interruption.  Probably  the  book 
would  have  been  much  shorter  than  the  Hymnal  that 
was  finally  produced,  for  their  ambition  to  make  a 
book  of  only  a  little  more  than  five  hundred  hymns 
could  more  easily  have  been  attained  had  they  chosen 
their  old  hymns  from  the  1,117  different  hymns  in  the 
old  Methodist  Episcopal  Hymnal,  instead  of  from  two 
Hymnals,  North  and  South,  containing  nearly  1,700 
different  hymns.  Then,  too,  the  Hymnal  might  have 
had  fewer  of  the  American  evangelistic  type  of  tunes, 
which  for  many  years  in  the  Southern  Hymnal  and  its 
Supplement  have  been  preserved  like  pressed  flowers 
in  an  old  volume,  flowers  that  are  now  cherished  less 
for  their  fragrance  than  for  the  memories  which  they 
awaken. 

The  reason  for  the  discontinuance  of  the  first  com- 
mission was  the  discovery  that  the  same  General 
Conference  (1900)  that  had  authorized  them  to  pre- 
pare a  new  Hymnal,  had  also  authorized  ''prompt 
steps  being  taken  for  the  preparation  of  a  common 
Catechism,  a  common  hymn  book,  and  a  common 
order  of  public  worship,  and  that  other  branches  of 
Methodism  be  invited  to  cooperate  in  this  under- 
taking''  (Report  of  the  Committee  on  Federation, 
General  Conference,  1900). 

In  the  meantime  the  Methodist  Episcopal  Church, 
South,  was  also  preparing  for  a  common  Hymnal. 
Their  General  Conference  met  in  Dallas,  Texas,  in 
May,  1902.  Both  of  the  fraternal  delegates  from  the 
North  referred  in  their  speeches  to  the  common  Hym- 


THE  MAKING  OF  THE  HYMNAL 


35 


nal.  The  Rev.  Dr.  Dewitt  C.  Huntington  said:  "We 
read  from  the  same  Bible,  we  are  soon  to  sing  from  the 
same  book  of  hymns,  and  teach  our  children  the  same 
Catechism.  We  agree  in  many  things.  We  differ  in 
few.  It  would  seem  that  the  joint  heirs  to  an  in- 
heritance so  sacred,  fellow  workers  under  the  same 
system  of  Christian  doctrine,  striving  for  the  same 
goal — a  regenerated  world — should  be  drawn  into  an 
ever-deepening  fellowship  of  labor  and  love.^'  Lieu- 
tenant-Governor John  L.  Bates,  afterward  governor 
of  Massachusetts,  echoed  this  sentiment  in  saying  that 
"when  steps  are  taken  to  prepare  a  common  hymn 
book  and  a  common  order  of  public  worship,''  and 
since  other  significant  events  have  occurred  within 
the  quadrennium  just  closed,  "then  the  day  of  the 
benefits  of  a  practical  union,  whether  one  in  name  or 
not,  is  near  at  hand.'' 

On  May  22,  the  fourteenth  day  of  the  General  Con- 
ference, the  Rev.  Peter  H.  Whisner,  of  the  Baltimore 
Conference,  moved  to  suspend  the  rules  and  to  adopt 
Report  No.  1  of  the  Committee  on  Federation.  This 
report  breathes  the  spirit  of  fraternal  regard  for  the 
Methodist  Episcopal  Church,  reciprocating  the  cordial 
sentiments  of  its  fraternal  delegates,  and  resolves 
among  other  things:  "That  the  bishops  of  our  Church 
are  authorized  to  act  in  concert  with  the  bishops  of 
the  Methodist  Episcopal  Church  in  the  work  of  prepar- 
ing a  common  Hymnal  for  public  worship,  a  common 
Catechism,  and  a  common  order  of  worship,  and  to 
proceed  as  soon  as  practicable  to  appoint  the  com- 
mittees for  the  same  as  agreed  upon  by  the  joint  com- 


36 


MUSIC  AND  HYMNODY 


mission/'  This  report  was  signed  by  the  Rev.  P.  H. 
Whisner,  chairman,  and  the  Rev.  J.  P.  McFerrin. 

The  conflict  of  legislation  in  the  General  Conference 
of  the  Methodist  Episcopal  Church  was  referred  to  the 
Board  of  Bishops,  and  they  nullified  the  appointment 
of  the  old  commission  of  nine,  at  once  reappointing 
the  same  nine  members  to  the  new  joint  commission, 
and  increasing  the  representation  of  the  Methodist 
Episcopal  Church  to  eleven  by  adding  Bishop  Daniel 
A.  Goodsell  and  the  Rev.  H.  G.  Jackson.  Subse- 
quently, upon  the  resignation  of  M.  V.  Simpson,  J.  M. 
Black  was  appointed  in  his  place. 

Bishop  Goodsell  (1840-1909),  as  pastor  in  the  New 
York  East  Conference  from  1859  to  1887,  editor  of 
two  religious  weeklies,  and  secretary  of  the  Board  of 
Education,  achieved  the  distinction  of  being  one  of 
the  most  scholarly  and  brilliant  men  ever  elected  to 
the  episcopacy. 

The  Rev.  H.  G.  Jackson  has  for  years  been  a 
prominent  Chicago  pastor. 

Mr.  J.  M.  Black  is  well  known  as  an  editor  and  com- 
poser of  gospel  songs. 

Like  their  brothers  from  the  North,  the  Southern 
commissioners  were  chosen  for  special  qualifications 
for  the  work  in  hand.  Bishop  Elijah  Embree  Hoss, 
D.D.,  LL.D.,  formerly  president  of  Martha  Washing- 
ton College,  and  later  of  Emory  and  Henry  College, 
professor  in  Vanderbilt  University,  and  editor  of  the 
Nashville  Christian  Advocate,  was  elected  Bishop  of 
the  Methodist  Episcopal  Church,  South,  in  1902. 

The  Rev.  Dr.  George  B.  Winton  has  achieved  a 


THE  IJAKING  OF  THE  HYMNAL  37 


versatile  record  as  pastor  in  California,  missionary  in 
Mexico,  professor  of  Latin  in  Santa  Rosa,  and  author  of 
Spanish  and  American  works.  In  1902  he  was  elected 
editor  of  the  Christian  Advocate  (Nashville,  Tenn.). 

The  Rev.  Dr.  Horace  M.  DuBose,  pastor  of  several 
churches  successively  in  California,  Texas,  and  Missis- 
sippi, and  once  editor  of  the  Pacific  Methodist  Advo- 
cate, was  in  1898  elected  secretary  of  the  Epworth 
League  and  editor  of  its  organ,  the  Epworth  Era. 

The  Rev.  Dr.  Wilbur  Fisk  Tillett,  the  hymnologist 
of  his  Church,  and  author  of  many  denominational 
and  theological  works,  has  been  associated  with 
Vanderbilt  University,  of  which  he  became  in  1886 
vice-chancellor  and  dean  of  the  theological  faculty. 

The  Rev.  Dr.  Paul  Whitehead,  now  deceased,  was  a 
presiding  elder  in  the  Virginia  Conference. 

The  Rev.  Dr.  John  Monroe  Moore,  pastor  of  various 
churches  in  Texas  and  Missouri,  has  been  managing 
editor  of  the  Christian  Advocate  (Nashville)  since 
1906. 

Edwin  Mims,  Ph.D.,  author  of  works  on  literature, 
and  editor  since  1905  of  the  South  Atlantic  Quarterly, 
is  professor  of  English  Literature  in  Trinity  College, 
N.  C. 

Henry  Nelson  Snyder,  Lit.D.,  LL.D.,  after  teaching 
in  Vanderbilt  University  and  Wofford  College,  became 
president  of  the  latter  institution  in  1902. 

Rev.  Dr.  F.  S.  Parker,  a  member  of  the  Louisiana 
Conference,  is  secretary  of  the  Epworth  League  of  his 
Church,  elected  in  1908. 

Rev.  Dr.  James  Campbell,  of  the  North  Texas  Con- 


/ 


38 


MUSIC  AND  HYMNODY 


ference,  was  presiding  elder  of  the  Corsicana 
District. 

The  Rev.  Dr.  Robert  Thomas  Kerlin  served  as 
professor  in  Missouri  Valley  College,  Southwestern 
University,  and  the  State  Normal  School,  Warrens- 
burg,  Missouri,  and  is  now  instructor  in  English  at 
Yale  University. 

The  two  Churches  were  fortunate  in  being  repre- 
sented by  such  a  remarkable  group  of  men,  who  com- 
bined an  alert  scholarship  and  insight  into  the  needs  of 
the  Church  with  a  devout  sense  of  the  deep  spiritual 
importance  of  their  work.  Their  proceedings  recall 
the  spirit  in  which  Professor  Calvin  S.  Harrington 
entered  upon  the  work  of  the  Hymnal  Commission  of 
1876-78.  In  the  words  of  his  biography,  as  related  by 
his  wife :  '^He  received  the  appointment  as  the  greatest 
honor  the  Church  had  ever  conferred  upon  him.  Not 
until  after  days  of  prayer  and  questioning  of  his  fitness 
did  he  enter  tremblingly,  but  joyfully,  upon  the  im- 
portant work.  As  the  days  went  on,  and  the  labors 
increased,  his  enthusiasm  grew  intense,  and  absorbed 
every  hour  that  could  be  spared  from  his  regular 
college  duties.''^ 

Work  of  such  far-reaching  influence  is  not  ''to  be 
entered  into  unadvisedly,  but  reverently,  discreetly, 
and  in  the  fear  of  God'' ;  and  the  commission  felt  with 
deep  earnestness  the  burden  of  its  responsibility. 
That  they  must  prepare  a  Hymnal  to  be  acceptable  to 
the  largest  Protestant  body  in  America,  to  serve  the 
Church  possibly  for  three  decades,  like  its  predecessors, 

i"CaMn  Sears  Harrington,"  by  his  Wife,  Middletown,  Connecticut,  1885. 


I 


THE  MAKING  OF  THE  HYMNAL  39 

to  meet  the  needs  of  two  separate  Churches,  to  satisfy 
the  varied  tastes  of  every  section  and  almost  every 
class  of  people  in  our  land,  to  give  expression  to  the 
larger  vision  of  truth  and  the  more  tender  conception 
of  God  and  his  ways  with  men,  which  the  Church  had 
gained  within  a  generation,  to  utter  this  expression 
without  offense  to  those  who  still  cling  to  the  older 
ideas — this  seems  to  have  been  the  symphony,  as 
Channing  would  have  styled  it,  which  the  commission 
purposed  to  construct,  composing  a  harmonious  whole 
out  of  the  themes  of  three  hundred  saintly  singers  of 
the  Christian  ages,  and  the  melodies  of  nearly  as 
many  composers. 

With  this  purpose  in  view  the  committee  assembled 
for  its  first  meeting  in  Nashville,  Tennessee,  in  the 
spring  of  1903. 

The  second  meeting  was  held  at  Plymouth,  Massa- 
chusetts, during  the  first  week  in  July,  1903.  In  all 
these  sessions  a  devout  spirit  of  industry  pervaded 
the  work  of  the  commission,  whose  brotherly  harmony 
was  never  once  broken,  and  whose  final  meeting  (in 
Washington,  D.  C,  January  14,  1904)  was  a  Pente- 
cost, as  Bishop  Goodsell  reminds  us  in  the  Preface. 

This  meeting  practically  completed  the  work  of 
choosing  the  hymns,  though  there  were  still  a  few 
minor  changes  to  be  made.  Most  of  the  tunes  had 
been  selected  at  the  final  meeting  in  Washington. 
Those  still  not  chosen  were  left  to  the  musical  editors 
and  the  committee  on  tunes.  The  minor  changes  in 
phraseology  were  left  with  the  H3nnnal  editors,  the 
Rev.  Dr.  Charles  M.  Stuart,  for  the  North,  and  the 
/ 


MUSIC  AND  HYMNODY 


i 


Rev.  Dr.  W.  F.  Tillett  for  the  South,  both  of  whom  we 
have  already  mentioned.  The  musical  editors  were 
Professor  Karl  P.  Harrington,  of  Wesleyan  University, 
and  Professor  Peter  C.  Lutkin,  of  Northwestern 
University. 

Professor  Harrington  is  the  son  of  the  late  Dr.  Cal- 
vin Sears  Harrington,  who  for  many  years  occupied 
the  chair  of  Latin  at  Wesleyan  University,  now  held 
by  his  son,  only  one  incumbent  having  intervened  be- 
tween father  and  son.  Another  pleasing  coincidence 
was  that  Professor  Calvin  S.  Harrington  was  one  of  the 
two  musical  editors  of  the  1878  Hymnal.  Born  in 
1881,  Professor  Karl  P.  Harrington  since  his  gradua- 
tion from  Wesleyan,  1882,  has  been  a  teacher  of  Latin, 
University  of  Maine  and  University  of  North  Carolina 
being  two  of  the  colleges  he  has  served.  He  is  well 
known  as  an  organist,  musical  director,  composer,  and 
lecturer. 

Professor  Lutkin  is  professor  of  music  in  the  College 
of  Liberal  Arts  and  dean  of  the  School  of  Music  in 
Northwestern  University.  He  was  born  of  Danish 
parents  in  1858  at  Thompsonville,  Wisconsin,  near 
Racine,  to  which  he  moved  while  a  young  child.  At 
nine  years  of  age  he  was  a  choir  boy  in  the  Cathedral  of 
Saint  Peter  and  Saint  Paul,  Chicago,  at  twelve  an  as- 
sistant organist  there,  and  at  fourteen,  now  orphaned, 
he  was  appointed  organist  of  the  Cathedral.  In  1881 
he  went  to  Europe,  where  he  studied  under  the  great 
masters.  He  has  been  on  the  Northwestern  University 
faculty  since  1891. 

The  injustice  of  omitting  the  names  of  the  musical 


THE  MAKING  OF  THE  HYMNAL  41 


editors  from  the  first  edition  of  the  new  Hymnal,  as  in 
every  edition  of  the  1878  Hymnal,  was  remedied  in 
later  editions. 

The  musical  editors  and  the  Tune  Committee  met  in 
Evanston,  Illinois,  in  the  summer  of  1904  to  complete 
the  tunes,  but  the  work  was  still  unfinished.  Before 
the  next  meeting  a  pamphlet  was  published  with  the 
words  of  several  hymns,  for  which  the  editors  invited 
new  music.  The  results  were  discussed  by  correspond- 
ence, and  final  decision  was  made  in  the  last  meet- 
ing in  Boston,  in  the  spring  of  1905.  The  general 
editors  and  musical  editors  unite  in  especially  com- 
mending the  work  of  Professor  C.  T.  Winchester  in 
selecting  tunes  for  the  hymns,  in  addition  to  the 
regular  work  assigned  him  on  the  commission. 


CHAPTER  III 


THE  COMPLETED  HYMNAL  OF  1905 

The  Book  and  Its  Characteristics — Comparison  with 
Other  Hymnals — Some  Superlatives 

Thus,  after  years  of  preparation,  the  Methodist 
Hymnal  was  presented  to  the  Church  in  September, 
1905.  It  was  pubUshed  simultaneously  in  uniform 
editions  by  the  publishing  agents  of  the  Methodist 
Episcopal  Church,  Eaton  &  Mains,  and  Jennings 
&  Graham;  and  also  of  the  Methodist  Episcopal 
Church,  South,  Smith  &  Lamar.  The  book  ap- 
peared in  two  forms,  the  music  edition  and  the  word 
edition.  The  former  was  printed  in  octavo  size,  from 
Gilson  music  plates  made  in  Boston,  the  hymns  being  in 
8-point  type,  the  Psalter  in  10-point  type.  The  word 
edition  was  printed  in  16mo  size,  both  hymns  and 
Psalter  being  in  10-point  type.  These  editions  were 
presented  in  various  cloth  and  leather  bindings,  bear- 
ing on  the  back  and  on  the  cover  the  legend  in  gilt 
letters,  'The  Methodist  Hymnal.''  The  most  beauti- 
ful copy  of  the  Hymnal,  printed  on  Oxford  India  paper 
and  bound  in  red  seal-skin,  was  presented  by  Bishop 
Goodsell,  on  behalf  of  the  Hymnal  Commission,  to 
President  Theodore  Roosevelt,  who  acknowledged 
the  favor  in  pleasing  terms. 

Between  the  covers  of  the  Hymnal  and  spread  upon 
the  table  of  its  pages,  there  lies  a  sumptuous  feast  of 
hymns  and  music,  gathered  from  the  fields  of  many 

42 


THE  COMPLETED  HYMNAL  OF  1905  43 


lands  and  many  ages,  meat  and  drink  for  the  nourish- 
ment of  the  spiritual  life,  stimulation  for  sin-sick 
souls,  and  refreshment  for  weary  workers. 

As  soon  as  the  book  was  published  widespread  com- 
ment upon  so  important  a  Hymnal  was  at  once  begxm. 
Much  of  this  was  in  the  form  of  strong  commendation. 
The  higher  standards,  literary  and  musical,  upon 
which  the  Commission  proceeded,  were  indorsed,  as 
well  as  their  taste  in  matters  theological.  But  from 
some  quarters  the  comment  assumed  the  tone  of  ad- 
verse criticism,  futile  as  such  criticism  must  be,  in 
view  of  the  fact  that  Methodist  hymnals  are  usually 
revised  only  once  in  a  generation. 

Some  of  the  comments  upon  the  Hymnal  illustrated 
the  dangers  of  irresponsible  criticism  on  church  affairs. 
Many  of  those  who  have  criticized  the  book  have  done 
so  without  having  acquired  any  intelligent  or  intimate 
familiarity  with  its  contents.  At  the  close  of  a  Sun- 
day morning's  service  in  New  England,  soon  after  the 
Hymnal  was  published,  a  critic  assailed  one  of  the 
makers  of  the  Hymnal,  declaring  that  he  disliked  the 
new  Hymnal.  When  pressed  for  a  reason  the  only  one 
that  he  could  give  was  that  Fanny  Crosby's  hymns 
were  left  out  of  the  book.  The  reply  was  simple,  and 
revealed  the  ignorance  of  the  critic.  The  new  Hym- 
nal contains  five  of  her  hymns,  whereas  there  were 
none  in  the  old  Methodist  Episcopal  Hymnal.  Still 
others  have  centered  their  criticism  upon  minor  im- 
perfections of  the  book,  made  necessary  in  some  re- 
spects ^y  the  very  nature  of  the  book  as  a  compromise. 
They  would  carelessly  condemn  the  book  without 


44 


MUSIC  AND  HYMNODY 


really  understanding  its  value.  A  few  hours  of  earnest 
study  would  reveal  to  them  treasure-wonders  of  which 
they  had  scarcely  ever  dreamed. 

We  would  not  be  understood  as  imputing  ignorance 
to  every  critic,  or  to  everyone  who  feels  that  the 
Hymnal  has  not  perfectly  represented  his  own  tastes. 
In  fact,  every  member  of  the  Hymnal  Commission 
could  probably  be  included  in  the  latter  class,  and  the 
writer  and  perhaps  the  reader  of  these  lines.  The  diffi- 
culty is  that  each  tends  to  criticize  from  an  entirely  dif- 
ferent angle.  The  great  Methodist  Churches,  forming 
the  largest  Protestant  body  in  America,  must  satisfy  in 
their  forms  of  worship  entirely  opposite  needs  and 
divergent  tastes.  When  it  is  remembered  that  this 
Hymnal  must  be  used  by  East  and  West,  South  and 
North,  rich  and  poor,  the  erudite  and  the  less  educated, 
in  the  metropolis  and  in  the  hamlet,  it  must  be  re- 
garded as  wonderful  in  its  adaptability  to  Methodism 
at  large. 

One  of  the  most  frequent  criticisms  is  that  the  book 
contains  much  more  English  music  and  not  so  much 
American  music  as  the  previous  books;  and  this 
complaint  is  urged  against  the  book  chiefly  by  the 
purveyors  of  modern  gospel  music.  The  indictment 
is  true.  The  contemporary  school  of  English  tune- 
makers  has  exerted  a  predominating  influence  in  the 
new  music  of  this  Hymnal ;  but  so  they  have  also  in 
the  hymnals  of  most  other  denominations,  both  in 
England  and  in  America,  and  their  elevating  influence 
upon  church  music  is  constantly  rising  throughout 
Protestantism,  like  an  irresistible  tide.    On  the  other 


THE  COMPLETED  HYMNAL  OF  1905  45 


hand,  one  frequently  hears  complaints  that  too  many 
gospel  tunes  are  included  in  the  book.  But,  when  it  is 
considered  how  few  they  really  are,  after  all,  this 
criticism  seems  over-rigorous.  To  deny  entirely  the 
value  of  the  gospel  hymns  would  be  to  confess  one's 
unfamiliarity  with  the  history  of  Methodism.  It  is 
true  that  the  average  musical  standard  of  the  Hymnal 
is  somewhat  lowered  by  this  class  of  music.  But 
surely  its  place  in  our  social  worship  is  sufficiently 
important  to  justify  including  some  of  the  best  of  these 
tunes  in  the  Hymnal.  The  fact  still  remains  that  the 
collection  contains  hundreds  of  the  very  best  hymn 
tunes  in  existence,  and  these  criticisms  are  made  only 
upon  a  smaller  part  of  the  whole. 

Another  favorite  diversion  of  the  critic — and  in  this 
field  his  name  is  legion — is  to  complain  that  some  old 
familiar  hymn  has  been  set  to  a  different  tune  from 
the  one  to  which  it  was  formerly  sung.  In  some  in- 
stances this  point  is  well  taken,  but  in  other  cases  it  is 
influenced  largely  by  the  personal  equation  of  the 
critic.  It  would  be  difficult  to  get  a  company  of  such 
critics  to  agree  as  to  which  are  the  old  familiar  tunes 
that  should  have  been  kept  in  the  book.  Doubtless 
the  editors  had  reason  for  every  divorce  of  a  hymn 
from  its  tune.  Had  not  such  reasons  been  applied  to 
successive  revisions,  we  would  still  be  singing  some  of 
ttie  impossible  tunes  of  the  earlier  days.  We  would 
not  be  suiting  the  needs  of  modern  worship  to  the 
higher  tastes  of  later  generations.  From  the  personal 
standpoint,  however,  it  is  hard  to  dissociate  a  hynm 
from  the  tune  to  which  we  have  sung  it  since  child- 


46 


MUSIC  AND  HYMNODY 


hood;  and  it  is  not  surprising  that  each  successive 
revision  has  provoked  this  comment. 

In  spite  of  these  criticisms  the  Methodist  Hymnal 
remains  as  a  great  collection  of  the  great  hymns  and 
tunes  of  the  Church,  and  as  such  it  is  worthy  of  the 
loyal  appreciation  of  the  Church  at  large.  There  are 
but  few  members  of  any  General  Conference  that  are 
entirely  satisfied  with  every  clause  of  the  Discipline. 
But  they  cheerfully  and  loyally  accept  it  as  the  ulti- 
mate result  of  many  forces,  some  of  them  contending 
in  opposite  directions,  but  all  of  them  together  pro- 
ducing a  higher  wisdom;  and  under  the  new  Dis- 
cipline they  loyally  return  to  their  various  fields 
of  labor  for  another  quadrennium  of  work.  Like- 
wise, the  Hynmal  should  be  adopted  by  every 
Methodist  society  as  the  only  authorized  hymnody 
and  music  for  our  Church. 

Perhaps  the  most  exact  method  of  reaching  a  just 
estimate  of  the  Hymnal  is  to  compare  it  with  other 
American  hymnals  in  the  same  field.  In  the  first 
place,  comparing  it  with  its  predecessors  in  both 
North  and  South,  the  Hymnal  is  distinctly  an  ad- 
vance in  musical,  literary,  and  theological  standards. 
Nor  could  the  Church  expect  anything  other  than  an 
advance  in  all  of  these  respects.  Besides,  by  the 
arrangement  of  the  material,  it  marks  a  decided  im- 
provement over  the  former  books. 

Just  how  far  the  editors  have  culled  their  material 
from  the  old  Hymnals  of  the  Methodist  Episcopal 
Church  and  the  Methodist  Episcopal  Church,  South, 
may  be  seen  from  the  following  statistics: 


THE  COMPLETED  HYMNAL  OF  1905  47 


In  the  new  Hymnal  there  are  717  hymns  (exclusive 
of  the  doxologies,  chants,  and  occasional  pieces). 
They  are  set  to  773  tunes,  216  being  duplicates  and 
557  being  different  tunes.    Of  these  773  tunes, 

198     in  the  old  Methodist  Episcopal  Hymnal  were  sung 
to  the  same  words  as  in  the  new. 
140  in  the  old  Methodist  Episcopal  Church,  South, 
Hymnal  were  sung  to  the  same  words  as  in 
the  new. 

105        are  tunes  from  the  old  Methodist  Episcopal  Hymnal, 
set  to  old  words,  to  which  other  tunes  were  used 
in  the  old  book. 
132  are  tunes  from  the  Methodist  Episcopal  Church, 
South,  Hymnal,  set  to  old  words,  to  which  other 
tunes  were  used  in  the  old  book. 
45        are  tunes  from  the  old  Methodist  Episcopal  Hyumal, 
to  which  new  hymns  have  been  set. 
46  are  tunes  from  the  Methodist  Episcopal  Church, 
South,  Hymnal,  to  which  new  hymns  have  been 
set. 

213  are  tunes  not  in  the  old  Methodist  Episcopal 
Hymnal,  but  are  set  to  hymns  that  were  in  the 
old  book. 

190  are  not  in  the  old  Methodist  Episcopal  Church, 

South,  Hymnal,  but  are  set  to  hynms  that  were 

in  the  old  book. 
212        are  tunes  not  in  the  old  Methodist  Episcopal  Hymnal 

and  are  set  to  words  not  in  the  old  book. 
265  are  tunes  not  in  Methodist  Episcopal  Church,  South, 

Hymnal,  and  are  set  to  words  not  in  the  old 

book. 


773  773 

In  each  of  the  old  Hymnals  there  were  only  seven 
hymns  set  to  more  than  one  tune;  but  the  new  Hym- 
nal contains  two  tunes  for  each  of  fifty-five  hymns,  be- 
sides three  tunes  for  each  of  the  two  hymns,  J.  G.  Hol- 
land's 'There's  a  song  in  the  air''  and  Charles  Wesley's 
''Jesus,  Lover  of  my  soul." 


48 


MTTSIC  AND  HYMNODY 


In  the  old  Methodist  Episcopal  Hymnal  there  were 
483  tunes  (79  being  duplicates,  leaving  404  different 
tunes),  to  which  1,117  hymns  were  set.  In  the  old 
Methodist  Episcopal  Church,  South,  Hynrnal  there 
were  696  tunes  (239  being  duplicates,  leaving  457 
different  tunes),  to  which  918  hymns  were  set.  The 
new  Hymnal  has  decreased  the  number  of  hymns  (by 
just  400  from  the  Methodist  Episcopal  Hymnal,  by  201 
from  the  Hynrnal  of  the  Methodist  Episcopal  Church, 
South),  and  has  increased  the  number  of  different 
tunes  (by  153  over  the  Methodist  Episcopal  Hymnal, 
by  100  over  the  Hymnal  of  the  South). 

In  only  one  instance  in  the  new  Hymnal,  namely, 
the  two  hymns  to  the  tune  ^ ^America,''  are  two  adja- 
cent hymns  set  to  the  same  tune,  although  nearly  half  of 
the  hymns  in  the  Hymnal  of  the  Methodist  Episcopal 
Church,  South,  and  more  than  half  of  those  in  the 
Methodist  Episcopal  Hymnal  were  adjacent  to  some 
other  hymn  set  to  the  same  tune.  Frequently  in  both 
of  the  old  books  the  words  were  placed  on  a  page 
opposite  the  tune.  This  does  not  occur  in  the  new 
Hymnal.  Nor  is  the  congregation  in  singing  any 
hymn  obliged  to  turn  over  to  some  other  part  of  the 
Hymnal  for  the  music  of  that  hymn,  as  was  true  of  fifty- 
two  hymns  in  the  old  Methodist  Episcopal  Hymnal, 
but  of  only  one  hymn  in  the  KymnaX  of  the  Meth- 
odist Episcopal  Church,  South.  In  a  word,  each  tune 
is  printed  with  its  hymn,  and  each  hymn  with  its 
tune.  This  has  made  it  possible  in  every  instance 
(save  in  ^ ^America,''  cited  above)  to  insert  the  first 
verse  of  each  hymn  between  the  clefs  of  the  music,  to 


THE  COMPLETED  HYMNAL  OF  1905  49 


which  it  is  to  be  sung — a  distinct  gain  in  this  Hjnimal 
over  its  predecessors. 

Comparing  the  Methodist  Hymnal  with  other 
American  hymnals,  no  one  would  claim  for  this  Hym- 
nal that  it  excels  all  others  in  the  high  standard  of  its 
music.  Undoubtedly  other  hymnals,  especially  those 
of  the  Protestant  Episcopal  Church,  as  the  Hutchins, 
Parker,  or  Tucker  hymnals,  maintain  throughout 
a  higher  average  of  music.  As  we  have  already 
observed,  the  musical  average  has  been  somewhat 
lowered  by  admitting  a  small  number  of  hymn  tunes 
especially  adaptable  to  evangelistic  work.  But  as 
most  of  our  tunes  coincide  with  those  in  the  best 
hymnals,  and  as  many  of  our  new  tunes  are  of  a  high 
order,  the  musical  difference  is  not  great.  What  is 
best  in  the  best  hymnals  is  to  be  found  in  our  own,  to 
which  has  been  added  a  certain  desirable  adaptability 
to  our  own  needs,  entirely  lacking  in  the  other 
hymnals. 

There  is  no  question  that  in  theology  our  Methodist 
doctrinal  teachings  are  better  set  forth  in  the  Method- 
ist Hymnal  than  in  any  other  American  hymnal.  In 
fact,  one  of  the  great  dangers  to  our  system  of  religious 
education  lies  in  the  fact  that  so  many  unauthorized 
hymnals  are  used  in  the  Church  that  either  teach  that 
which  we  do  not  regard  as  Methodist  belief,  or  else 
portray  the  Christian  life  in  false  colors  by  means  of 
weak,  sen^timental  phrasing  of  little  literary  and  less 
theological  value. 

The  Methodist  Hymnal  has  found  a  peer  in  the 
excellent  book  of  our  Methodist  brethren  in  England, 


50 


MUSIC  AND  HYMNODT 


known  as  'The  Methodist  Hymn  Book.''  To  this 
book,  more  than  to  any  other  in  existence,  our  Hymnal 
bears  a  close  relation  in  the  fact  that  both  have  been 
historically  derived  from  the  original  collection  of  the 
Wesleys,  and  in  the  possibility  that  eventually  both 
may  be  merged  into  one  pan-Methodistic  hymnal. 

The  centripetal  force,  that  is  more  and  more  uniting 
all  denominations  throughout  Protestantism,  has 
made  itself  felt  throughout  the  several  branches  of 
Methodism.  The  Ecumenical  Methodist  Conference, 
first  convened  in  London,  September,  1881,  has  been 
the  best  expression  of  this  Wesleyan  unity.  At  the 
third  Ecumenical  Conference,  held  in  London,  Septem- 
ber, 1901,  a  resolution  was  presented  authorizing  one 
common  hymnal  for  international  Methodism.  This 
is  a  step  in  advance  of  the  Church  of  England  and  the 
Protestant  Episcopal  Church,  which  use  entirely  dif- 
ferent hymnals.  The  idea  has  strongly  appealed 
to  Methodists  on  both  sides  of  the  sea;  and  in  view  of 
the  possibility  in  the  future  of  an  international  hymnal 
we  feel  justified  in  quoting  from  the  report  on  the  pro- 
posed resolution,  adopted  on  September  9, 1901 : 

The  Business  Committee  regards  the  suggestion  of  the 
resolution  with  sympathy  and  trusts  that  at  some  future  day 
it  will  be  realized;  but,  having  regard  to  the  fact,  first,  that 
several  Churches  in  the  Eastern  section  have  recently  pub- 
lished new  hymn  books,  and  thereby  incurred  great  financial 
responsibilities ;  secondly,  that  arrangements  for  the  publica- 
tion of  a  new  hymnal  by  the  Methodist  Episcopal  Church  are 
in  an  advanced  stage;  thirdly,  that  the  Wesleyan  Methodist 
Church  has  decided  to  publish  a  new  hymn  book,  which  it  is 
hoped  will  also  be  adopted  by  the  Irish  New  Connection, 
Wesleyan  Reform  Union,  and  Australian  Methodist  Churches, 
and  having  regard  to  the  legal  and  financial  difficulties  in- 


THE  COMPLETED  HYMNAL  OF  1905  51 


volved  in  the  proposal,  the  committee  is  of  the  opinion  that 
the  proposal  contained  in  the  resolution  is  not  at  present 
practicable. 

Whether  or  not  the  time  will  ever  come  when  we 
shall  be  constrained  to  join  hands  across  the  sea  in 
making  one  hymnal  for  all  English-speaking  Method- 
ists, it  is  of  interest  for  us  to  know  what  manner  of 
hymn  book  is  used  by  British  Methodism. 

'The  Methodist  Hymn  Book  with  Tunes''  is  the 
official  title  of  the  book.  The  title-page  bears  the 
statement  that  the  music  has  been  edited  by  Sir 
Frederick  Bridge,  M.V.O.,  Mus.Doc,  King  Edward 
Professor,  University  of  London,  and  for  years  organ- 
ist of  Westminster  Abbey.  His  works  are  much 
studied  in  this  country  by  students  of  harmony,  and 
he  is  regarded  as  one  of  the  foremost  musical  scholars 
in  Great  Britain.  Twenty-nine  hymn  tunes  in  his 
book  attest  his  ability  as  a  composer  in  this  simple 
form. 

The  Preface  contains  the  genealogy  of  the  English 
Methodist  Hymnal.  The  last  Wesleyan  Hymn  Book 
with  Supplement  had  been  issued  in  1875,  and  two 
years  later  a  time  book  was  published  to  conform  to 
this  hymn  book.  This  was  ''the  first  official  tune  book 
in  the  history  of  British  Methodist  psalmody,  in  which 
hymns  and  tunes  were  printed  together  on  the  same 
page,''  says  the  Preface  to  the  present  edition. 

The  Wesleyan  Conference  of  1900  appointed  a  com- 
mittee to  cooperate  with  other  British  Methodist 
bodies  in  preparing  a  new  hymn  book,  "to  cover  the 
whole  groimd  of  our  Wesleyan  Methodist  worship, 


52 


MUSIC  AND  HYMNODY 


doctrine,  and  experience,  and  that  the  substance  of 
Wesley^s  original  hymn  book,  with  certain  modifica- 
cations,  would  find  its  fitting  place  in  the  central  por- 
tion of  the  book,  which  deals  with  the  offer  of  the 
gospel  and  the  history  of  Christian  experience/'  In 
1901  a  new  committee,  including  laymen,  was  ap- 
pointed, who  carried  the  work  through  to  a  successful 
completion  in  1904,  and  presented  to  the  Wesleyan 
Methodist  Church,  the  Methodist  New  Connection,  the 
Wesleyan  Reform  Union,  and  the  Methodist  Church  of 
Australasia,  a  common  Methodist  Hymn  Book,  uniting 
them  for  the  first  time  through  the  same  songs  of  the 
religious  life. 

This  English  Hymn  Book  contains  981  hymns,  set  to 
893  different  tunes,  besides  ten  ancient  hymns  and 
canticles  with  several  musical  settings  for  each,  and 
thirty-nine  supplemental  tunes  in  the  Appendix, 
commonly  known  as  ^^old  Methodist  tunes/'  Many  of 
the  tunes  are  not  confined  to  one  page.  Sir  Arthur 
Sullivan's  magnificent  anthem  setting  of  Croft's  '^St. 
Anne"  covers  four  pages,  and  his  ^^Lux  in  Tenebris" 
two  and  a  half  pages,  the  music  for  each  separate  verse 
being  printed  in  full.  For  the  first  tune  of  '^Dies 
Irae"  an  ancient  plain-song  melody  is  used,  covering 
six  pages;  to  which  is  added  a  second  tune  of  a  page 
and  a  half.  Thus  upon  perusing  the  book,  one  is  im- 
pressed with  its  ample  provisions,  filling  almost  double 
the  number  of  pages  of  our  own  Hymnal,  exclusive  of 
the  Psalter. 

The  Wesleyan  Church  makes  use  of  a  much  larger 
body  of  the  Wesley  hjmms  than  has  the  American 


THE  COMPLETED  HYMNAL  OF  1905 


53 


Church.  Of  the  three  hundred  hymns  omitted  from 
the  old  book  in  England  about  one  hundred  were 
Wesley's;  and  still  one  half  of  the  new  Hymn  Book 
consists  of  hymns  by  Charles  Wesley  (437)  and  John 
Wesley  (29),  much  over  three  times  the  number  of 
Wesley  hymns  used  in  America.  This  has  been  true 
because  John  Wesley's  own  society  in  his  own  land 
is  privileged  to  gaze  more  intimately  into  his  devout 
face  and 

In  those  clear,  piteous,  piercing  eyes  behold 
The  very  soul  that  over  England  flamed.^ 

For  generations  his  England  has  taken  pride  in  pre- 
serving almost  intact  the  book  of  the  two  Wesleys. 
Even  when  the  omission  of  some  of  the  Wesley  hymns 
seemed  necessary,  the  Wesleyan  committee  proceeded 
upon  the  principle  that  before  a  Wesley  hymn  be  ex- 
cluded they  must  have  a  good  reason  for  its  exclusion, 
rather  than  insisting  upon  a  good  reason  for  retaining 
it,  thus  placing  the  burden  of  proof  upon  the  plaintiff. 
To  the  half  hundred  Wesley  hymns  thus  retained,  and 
about  two  hundred  other  hymns,  also  endeared  to  the 
Wesleyan  Church,  have  been  added  a  fine  body  of 
nearly  three  hundred  hymns,  only  one  of  which  had 
never  been  published  before  in  any  book. 

These  hymns  have  been  arranged  in  much  the  same 
order  of  subjects  as  fixed  by  Wesley.  The  center  of 
the  book  contains  the  body  of  Wesley  hymns,  preceded 
by  hymns  of  adoration,  and  followed  by  hymns  for 
children,  sacrament,  and  festivals,  national  and 
philanthropic.    Dr.  Stephenson  has  commented  upon 

*  "John  Wesley,"  by  Richard  Watson  Gilder. 


54 


MUSIC  AND  HYMNODY 


this  in  his  sketchy  critique  of  the  hymn  book,  and  has 
pointed  out  that  the  lack  of  worship-hymns  by  Wesley 
is  rooted  in  the  fact  that  the  Anglican  Church  had 
turned  out  the  Methodists  from  the  formal  places  of 
worship/ 

There  are  many  differences  in  the  text  of  the  same 
hymns,  as  used  in  England  and  America,  due  to 
alterations  from  the  original  made  by  both  Churches, 
but  more  especially  by  the  Americans.  Our  hymn, 
'Weep  not  for  a  brother  deceased,''  they  have  retained 
in  its  original  form,  '^Rejoice  for  a  brother  deceased," 
to  which  our  Joint  Hymnal  Commission,  after  hours  of 
debate,  nearly  changed  our  hymn.  Some  verses  of 
the  same  hymn  are  often  used  by  one  Church,  and  not 
by  the  other.  Our  hymn,  'There's  a  wideness  in 
God's  mercy,"  begins  thus  in  the  Wesleyan  Hymn 
Book:  ''Was  there  ever  kindest  shepherd."  Many 
such  examples  of  these  differences,  caused  by  altera- 
tion and  omission,  could  be  cited,  were  it  within  our 
province. 

These  hymns  have  been  set  to  a  splendid  collection 
of  tunes,  one  half  of  them  being  new  to  the  Wesleyan 
Church,  but  only  a  few  of  them  never  having  been 
published  before.  The  Conference  instructed  the 
committee  to  select  the  tunes  in  the  first  instance,  and 
then  submit  them  to  the  editor  "for  criticism  or 
alterative  suggestion,"  retaining,  however,  the  final 
authority  within  the  committee.  The  committee 
professes  to  have  observed  the  canon  that  the  tunes 
must  be  such  as  the  people  can  and  will  sing.  The 

1  See  Dr.  T.  B.  Stephenson's  article  in  Christian  Advocate,  July  14,  1904. 


THE  COMPLETED  HYMNAL  OF  1905       55  ] 

editor  expressed  his  ideal  thus:  ^'I  would  like  this  | 

tune  book  to  be  the  finest  in  the  world'' ;  and  from  the  | 

musical  standpoint  he  has  approached  this  ideal.  t 

To  our  comparison  of  the  Methodist  Hymnal  with  \ 

other  hymnals  there  remain  to  be  stated  briefly  the  j 

superlatives;  for  in  some  points  at  least  our  American  j 

Methodist  collection  is  unique.    In  the  first  place,  on  i 

the  mechanical  side,  the  mammoth  edition  of  576,000  t 

in  which  the  Methodist  Hymnal  made  its  first  appear-  | 

ance  in  1905  was  the  largest  first  edition  of  any  mer-  j 

chantable  book  ever  issued  in  America.  ^ 

It  is  the  first  official  hymnal  adopted  by  the  Meth-  ; 

odist  Episcopal  Church  and  the  Methodist  Episcopal  ■ 

Church,  South.  \ 

Since  the  Methodists  form  the  largest  Protestant 

body  in  America,  and  the  Roman  Catholics  do  not  gen-  j 

erally  use  congregational  singing  in  their  worship,  the  | 
Methodist  Hymnal  has  been  adopted  for  more  millions 

of  members  than  any  other  official  hymnal  in  America,  j 

and  probably  in  the  world.  j 

Of  all  hymnals  in  use  it  is  undoubtedly  the  best  ! 
suited  to  the  theological  beliefs  of  American  Method- 
ism in  this  age.  j 

Musically,  it  surpasses  all  of  its  predecessors,  and  is  \ 

the  most  adaptable  to  our  nation-wide  needs  of  all  the  \ 

high-standard  hymnals  now  in  use.  j 

.i 
1 

1 


1 


PART  II 
THE  HYMNS 


CHAPTER  IV 


THE  STORY  OF  THE  HYMNS 

Experiences  which  Led  to  the  Writing  of  the  Hymns — 
Experiences  in  the  Use  of  the  Hymns 

Every  hymn  has  a  spiritual  background  in  the 
personal  experience  of  its  author.  As  all  literature  is 
an  expression  of  life,  even  so  true  hymns  are  the  ex- 
pression of  an  individual  spiritual  life,  though  their 
sentiments  be  adapted  to  universal  Christian  experi- 
ence. It  is  not  given  to  us  to  know  the  inner  conflicts, 
the  secret  strivings  of  the  soul,  or  the  peculiar  joys  of 
each  hymn-writer,  that  may  have  inspired  the  writing 
of  our  great  hymns.  Many  a  line,  that  is  sung  coldly 
or  thoughtlessly,  has  been  poured  into  poetic  form  from 
the  molten  metal  of  the  souFs  furnace.  Of  the  real 
story  of  most  of  our  hymns  we  shall  never  know  until 
the  final  day  when  all  secrets  are  revealed. 

A  few  of  the  sacred  poets,  however,  have  taken  us 
into  their  confidence  as  to  the  writing  of  their  hymns, 
while  of  the  lives  of  still  others  we  know  sufficient  to 
determine  the  state  of  mind  which  produced  their 
h3niins.  It  is  impossible  within  the  compass  of  a  few 
pages  to  relate  more  than  a  few  of  the  many  stories 
that  have  clustered  about  these  seven  hundred  hymns. 
Therefore,  those  which  are  here  presented  have  been 
chosen  chiefly  to  illustrate  different  types  of  experience 
which  have  stirred  men  to  hymnodic  expression. 

The  conversion  of  a  soul  from  sin  to  righteousness 
59 


60 


MUSIC  AND  HYMNODY 


has  inspired  the  writing  of  many  a  strong  evangeHstic 
hymn.  The  supreme  joy  of  the  new  birth  and  the 
ecstasy  of  freedom  from  sin  have  been  frequently 
caught  up  into  song  from  the  deepest  emotions  of  the 
poet's  soul.  Joseph  Hart,  the  author  of  ^'Come,  ye 
sinners,  poor  and  needy,''  had  fallen  away  from  a  godly 
life.  His  sin  was  made  more  hideous  to  him  because 
of  the  memory  of  the  lost  experience  of  Christian  joy 
and  peace.  The  very  tortures  of  his  conscience  kept 
him  from  returning  to  the  throne  of  grace,  until,  finally 
contemplating  the  sufferings  of  Christ,  he  yielded  his 
life  anew  and  for  all  time  to  the  Saviour.  With  the 
joy  of  a  returned  prodigal  he  wrote : 

Let  not  conscience  make  you  linger, 

Nor  of  fitness  fondly  dream; 
All  the  fitness  he  requireth 

Is  to  feel  your  need  of  him, 

and  another  verse  also  clearly  referring  to  himself : 

Come,  ye  weary,  heavy-laden, 
Bruised  and  mangled  by  the  fall; 

If  you  tarry  till  you're  better. 
You  will  never  come  at  all. 

Henry  Kirke  White,  who  at  the  age  of  eighteen 
wrote,  '^When,  marshaled  on  the  nightly  plain/'  and 
died  within  two  years  afterward,  might  have  re- 
mained a  skeptic  until  his  death  but  for  an  intimate 
friend,  R.  W.  Almond,  later  rector  of  Saint  Peter's, 
Nottingham.  After  Almond  became  a  Christian  he 
shunned  White  as  a  dangerous  companion,  and  when 
White  complained  of  his  studied  absence  Almond  told 
him  the  reason.    With  horror  and  resentment  White 


THE  STOKY  OF  THE  HYMNS  61 


replied,  ^ 'Great  God!  you  surely  think  worse  of  me 
than  I  deserve But  into  the  blackness  of  that 
experience  and  his  consequent  conviction  of  sin  there 
shone  the  Star  of  Bethlehem,  and  in  this  hymn  the 
youthful  poet  sings  of  the  Star  as  his  guide  through 
raging  seas,  where 

Deep  horror  then  my  vitals  froze, 
Death-struck,  I  ceased  the  tide  to  stem, 

until  at  last  the  ship  of  his  soul  was  ' 'safely  moored, 
my  perils  o'er/' 

Charles  Wesley,  many  of  whose  hymns  were  directly 
autobiographical,  was  at  his  best  in  singing  of  the  work 
of  redemption  as  he  had  felt  it.  Immediately  after  his 
conversion  in  1738  he  wrote  the  hymn  beginning: 

And  can  it  be  that  I  should  gain 
An  interest  in  my  Saviour's  blood? 

In  one  verse  he  sums  up  the  whole  wonderful  story: 

Long  my  imprisoned  spirit  lay, 

Fast  bound  in  sin  and  nature's  night; 

Thine  eye  diffused  a  quickening  ray, 
I  woke,  the  dungeon  flamed  with  light: 

My  chains  fell  off,  my  heart  was  free, 
I  rose,  went  forth,  and  followed  thee. 

This  is  thought  to  be  the  hymn  mentioned  by  John 
Wesley  in  telling  of  his  own  conversion  at  ten  o^clock 
in  the  evening,  after  which  they  went  to  Charles's 
room  in  Little  Britain,  where  'Sve  sung  the  hymn  with 
great  joy,  and  parted  with  prayer.'' 

Charles  Wesley  had  a  fondness  for  observing  anni- 
versaries in  a  devout  fashion.  He  always  wrote  a 
hymn  upon  his  birthday.    And  so  it  is  not  strange 


62 


MUSIC  AND  HYMNODY 


that  one  of  his  greatest  hymns  was  written  upon  the 
first  anniversary  of  his  conversion,  May  21,  1739. 
These  words,  beginning  ^^0  for  a  thousand  tongues  to 
sing,''  have  become  so  endeared  to  all  Methodists  that 
they  have  formed  the  first  hymn  in  all  the  important 
Methodist  hymnals  in  Great  Britain  and  America. 
The  very  first  phrase  is  said  to  have  been  suggested  by 
the  remark  of  Peter  Bohler  to  Wesley  in  praise  of 
Christ,  ^'Had  I  a  thousand  tongues,  I  would  praise  Him 
with  them  all!''  The  line,  ^^'Tis  life  and  health  and 
peace,"  is  suggestive  of  Wesley's  serious  sickness 
mentioned  in  his  own  account  of  his  conversion  in  the 
home  of  one  Thomas  Bray:  'T  was  composing  myself 
to  sleep  and  quietness  and  peace,  when  I  heard  one 
come  and  say,  'In  the  name  of  Jesus  of  Nazareth,  arise 
and  believe,  and  thou  shalt  be  healed  of  all  thine  in- 
firmities!' The  words  struck  me  to  the  heart.  I  lay 
musing  and  trembling.  With  a  strange  palpitation  of 
heart,  I  said,  yet  feared  to  say,  'I  believe,  I  believe!'" 
When  at  last  he  won  the  consciousness  of  sins  for- 
given, he  prayed,  and  then  read  from  the  Bible  this 
passage:  ''He  hath  put  a  new  song  in  my  mouth," 
which  sentiment  is  echoed  in  the  line,  "'Tis  music  in 
the  sinner's  ears."  Then,  as  the  flood  of  memory  of 
this  great  day  sweeps  over  him  on  its  first  anniversary, 
he  exclaims: 

He  breaks  the  power  of  canceled  sin, 

He  sets  the  prisoner  free; 
His  blood  can  make  the  foulest  clean; 

His  blood  availed  for  me. 

Coimt  Nicolaus  L.  Zinzendorf^  the  Moravian 
preacher,  is  said  to  have  been  converted  through 


THE  STOEY  OF  THE  HYMNS 


68 


beholding  and  meditating  upon  the  famous  painting, 
^^Ecce  Homo/'  in  the  Diisseldorf  Gallery,  portraying 
Christ's  bowed  head  crowned  with  thorns.  Something 
of  his  intense  vision  of  Christ's  sufferings  is  caught  in 
John  Wesley's  translation  of  Zinzendorf's  hymn  be- 
ginning: '^Jesus,  thy  blood  and  righteousness"  (148). 
Its  relation  to  his  own  salvation  the  author  sings  in  our 
fourth  verse : 

Lord,  I  believe  thy  precious  blood 

For  me,  e'en  for  my  soul  was  shed. 

The  fact  that  this  hymn  was  written  upon  a  voyage 
from  the  West  Indies  to  England  early  in  the  year 
1739  makes  more  interesting  his  references  to  the 
ocean  in  the  last  verse : 

.    were  sinners  more 
Than  sands  upon  the  ocean's  shore, 
Thou  hast  for  all  a  ransom  paid. 

The  joy  of  seeing  a  whole  houseful  of  friends  con-^ 
verted  in  answer  to  her  prayer,  while  on  a  little  visit  of 
five  days  to  Areley  House,  led  Frances  Ridley  Haver- 
gal  to  write  (348) : 

Take  my  life,  and  let  it  be 
Consecrated,  Lord,  to  thee. 

Of  this  she  said:  ^The  last  night  of  my  visit  I  was 
too  happy  to  sleep,  and  passed  most  of  the  night  in 
praise  and  renewal  of  my  own  consecration,  and  these 
little  couplets  formed  themselves  and  chimed  in  my 
heart,  one  after  another,  till  they  finished  with,  ^Ever, 
only,  all  for  thee.'       Her  method  of  work  she  once 

1  From    Frances  Ridley  Havergal,"  by  the  Rev.  E.  Davies,  p.  61  and  p.  40. 


64    .  MUSIC  AND  HYMNODY 


described  thus:  ^ ^Writing  is  praying  with  me,  for  I 
never  seem  to  write  even  a  verse  by  myself,  and  feel 
like  a  little  child  writing:  you  know  a  child  would  look 
up  at  every  sentence  and  say,  'And  what  shall  I  say 
next?^ 

Similarly,  Mrs.  Elizabeth  Codner,  hearing  of  many 
wonderful  conversions  through  a  revival  in  Ireland, 
wrote  in  1860:  ''Lord,  I  hear  of  showers  of  blessing/^ 
in  order  that  her  unconverted  friends,  to  whom  she 
sent  the  verses,  might  utter  as  their  own  prayer, 
"Even  me,  even  me!'' 

In  contrast  to  the  joy  of  the  souFs  conversion,  now 
and  then  is  heard  a  note  of  anxiety,  lest  the  paths  of 
sin  lure  the  soul  away  from  God.  The  Rev.  Robert 
Robinson's  "Come,  thou  Fount  of  every  blessing"  con- 
tains a  passage  which,  in  the  light  of  his  later  Hfe, 
speaks  eloquently  of  his  conflict  of  soul : 

Prone  to  wander,  Lord,  I  feel  it, 
Prone  to  leave  the  God  I  love. 

Years  after  he  wrote  this,  when  he  had  drifted  into 

frivolous  ways,  a  stranger  once  quoted  the  verses  to 
him;  and  full  of  emotion  he  replied:  "I  am  the  un- 
happy man  who  composed  that  hymn,  many  years 
ago,  and  I  would  give  a  thousand  worlds,  if  I  had 
them,  to  enjoy  the  feelings  I  then  had." 

"Lead,  kindly  Light,  amid  th'  encircling  gloom,"  is 
a  prayer  for  divine  guidance  in  the  midst  of  the  gloom 
of  spiritual  perplexity.  ^Vhether  or  not  it  was  written 
on  a  ship  becalmed  for  a  foggy  week  in  the  Straits  of 
Bonifacio,  between  Corsica  and  Sardinia,  as  some  have 


THE  STOEY  OP  THE  HYMNS 


65 


told  us,  surely  and  eloquently  it  reveals  the  author's 
hesitant,  beclouded  state  of  mind  and  spirit  at  this 
period  of  his  life.  A  minister  of  the  Church  of  Eng- 
land, Dr.  John  H.  Newman,  had  become  anxious 
because  of  the  spiritual  indifference  in  his  own 
Church.  In  his  recent  visit  to  the  Continent,  and 
more  especially  in  Rome,  from  which  he  was  now 
returning,  he  had  felt  more  strongly  than  ever  before 
the  lure  of  Romanism,  which,  finally,  a  decade  later, 
led  him  to  enter  the  Roman  Catholic  Church,  and 
still  later  to  become  cardinal  in  1879.  'The  night 
is  dark,  and  I  am  far  from  home''  expresses  his 
spiritual  unrest,  if  not  homesickness  for  old  England. 
''One  step  enough  for  me"  was  the  guiding  principle 
of  his  progress  during  those  dark  years.  The  whole 
second  verse  is  biographical  in  regretting  that 
willfulness  which  he  confesses  in  other  verse  written 
earlier  upon  this  visit  to  the  Continent : 

Time  was  I  shrank  from  what  was  right, 
For  fear  of  what  was  wrong. 


Such  dread  of  sin  was  indolence, 
Such  aim  at  heaven  was  pride. 

«       *        *  * 

So,  when  my  Saviour  calls,  I  rise, 
And  calmly  do  my  best. 

But  through  it  all  there  shines  the  faith  of  the  great 
soul  that  "thy  power,"  the  guide  of  wandering  souls, 
"will  lead  me  on"  till  "the  night  is  gone."  Cardinal 
Newman  denied  the  authorship  of  the  fourth  verse  of 


66 


MUSIC  AND  HYMNODY 


"Lead,  kindly  Light/'  sometimes  attributed  to  him. 
The  accompanying  illustration  reproduces  this  denial 
in  his  own  handwriting,  although  it  is  uttered  in  the 
third  person. 

The  intensity  of  spiritual  emotion  that  impelled 
Cardinal  Newman  to  write  this  wonderful  hymn  we 
can  scarcely  begin  to  understand.  Dr.  Ray  Palmer 
says  of  the  writing  of  his  hymn,  ''My  faith  looks  up  to 
thee'':  ''I  gave  form  to  what  I  felt  by  writing  with 
little  effort  the  stanzas.  I  recollect  I  wrote  them  with 
very  tender  emotion,  and  ended  the  last  line  with 
tears."  Fanny  Crosby  thus  relates  the  story  of  writ- 
ing one  of  her  hymns:  ''While  I  sat  there  that  evening 
the  line  came  to  me,  'Rescue  the  perishing,  care  for  the 
dying.'  I  could  think  of  nothing  else  that  night. 
When  I  arrived  at  my  home  I  went  to  work  at  once, 
and  before  I  retired  the  entire  hymn  was  ready  for  a 
melody." 

The  chastening,  humbling  influences  of  illness  bring 

the  truly  consecrated  soul  nearer  to  God.  Miss 

Katherine  Hankey  had  passed  through  a  severe  illness 

of  many  months,  and  was  still  in  helpless  weakness, 

when  she  wrote,  "Tell  me  the  old,  old  story."  Thus 

from  the  heart  she  exclaims : 

For  I  am  weak  and  weary, 
And  helpless  and  defiled. 

How  naturally  the  convalescent's  mind  dwells  upon 

That  wonderful  Redemption, 
God's  remedy  for  sin. 

The  hymn,  "Father,  whate'er  of  earthly  bliss,"  was 
written  by  Miss  Anna  Steele  during  an  illness.  The 


Autograph  letter  from  Cardinal  Newman,  disclaiming  his  author- 
ship of  the  fourth  stanza  of  "  Lead,  Kindly  Light" 


THE  STORY  OF  THE  HYMNS  67 


poem,  entitled  ''Desiring  Resignation  and  Thankful- 
ness/' originally  began  thus: 

When  I  survey  life's  varied  scene 
Amid  the  darkest  hours. 

It  is  the  Christian  sufferer  who  is  singing  in  the  lines : 

Give  me  a  calm,  a  thankful  heart, 
From  every  murmur  free. 

The  words  and  music  of  'Tell  it  out  among  the 
nations''  were  written  by  Miss  Frances  Ridley  Haver- 
gal  in  Wales  during  a  severe  illness,  as  she  was  listening 
to  the  church  bells  calling  to  service.  The  theme  was 
suggested  by  a  phrase  she  had  just  read  in  her  Prayer 
Book,  "Tell  it  out  among  the  heathen  that  the  Lord  is 
King."  From  her  own  weariness  that  Sabbath  morn- 
ing she  sang,  "Tell  it  out  among  the  weary  ones  what 
rest  he  gives." 

Something  of  the  inspiration  through  sympathy 
with  sickness  and  its  hallowing  influences  may  be 
gleaned  from  Richard  Baxter's  quaint  note  to  his 
hymn,  "Lord,  it  belongs  not  to  my  care for  he  added 
this  line:  "This  Covenant  my  dear  Wife  in  her  former 
Sickness  subscribed  with  a  chearful  will.    Job  12. 26." 

The  sense  of  the  certainty  of  approaching  death 
arouses  no  terrors  in  the  heart  of  the  Christian,  who 
yearns  for  the  homeland.  The  Rev.  Thomas  R. 
Taylor  was  warned  of  the  disease  that  must  soon 
claim  his  life.  But,  undaunted  by  the  prospect,  he 
wrote  that  hymn  of  heaven : 

I'm  but  a  stranger  here, 
Heaven  is  my  home. 


68 


MUSIC  AND  HYMNODY 


One  line,  ''Short  is  my  pilgrimage/'  was  all  too 
prophetic,  for  he  died  at  the  age  of  twenty-seven. 
But  so  heroic  was  his  fight  in  the  Master's  cause  during 
those  last  months  in  the  valley  of  the  shadow  of  death 
that  James  Montgomery  was  thereby  inspired  to  write 
our  hymn,  ''Servant  of  God,  well  done/' 

Charles  Wesley  wrote,  "Who  are  these  arrayed  in 
white?"  as  a  eulogy  upon  his  parents  shortly  after 
their  death. 

Under  mortal  shadow  was  WTitten  the  great  hymn 
for  the  dj^ing  Christian,  "Abide  with  me,"  by  the  Rev. 
Henry  Francis  Lyte,  minister  to  Brixham,  Devonshire, 
England.  The  disease  of  consumption  had  over- 
taken him  past  the  half-century  milestone  of  his  active 
life,  and  the  doctors  had  insisted  that  he  leave  for 
Italy.  On  his  last  Sabbath  in  his  old  parish,  Septem- 
ber 5,  1847,  against  the  protest  of  his  friends,  he 
preached  and  administered  the  sacrament  of  the 
Lord's  Supper.  The  effort  nearly  exhausted  him, 
but  after  resting  in  the  afternoon  he  was  able  to  walk 
at  twilight  all  alone  by  the  sea.  Here  on  this  w^alk 
the  thoughts  of  his  coming  departure  from  England 
and  probably  from  human  life  came  thronging  upon 
his  mind,  and  in  that  hour  of  hallowed  devotion  he 
conceived  the  hymn : 

Abide  with  me!    Fast  falls  the  eventide, 
The  darkness  deepens — Lord,  with  me  abide! 
When  other  helpers  fail,  and  comforts  flee, 
Help  of  the  helpless,  O  abide  with  me! 

The  verses,  "Swift  to  its  close  ebbs  out  life's  Httle 
day,"  and  "Hold  thou  thy  cross  before  my  closing 


THE  STOKY  OF  THE  HYMNS 


69 


eyes/'  reveal  his  sense  of  impending  death;  but  with 
what  courage  and  faith  it  was  blended  is  proven  in  the 
lines: 

Where  is  death's  sting?  where,  grave,  thy  victory? 
I  triumph  still,  if  thou  abide  with  me. 

The  next  day  he  started  for  the  Riviera,  which  he 
never  reached,  for  in  less  than  eleven  weeks  he  died  in 
Nice,  November  20,  1847. 

The  last  poem  of  Charles  Wesley's  was  composed 
and  uttered  upon  his  deathbed.  Being  ^'in  feebleness 
extreme,''  he  called  to  Mrs.  Wesley  and  asked  to  write 
down  these  lines,  which  he  dictated; 

In  age  and  feebleness  extreme, 
Who  shall  a  sinful  worm  redeem? 
Jesus,  my  only  hope  thou  art. 
Strength  of  my  failing  flesh  and  heart; 
O,  could  I  catch  a  smile  from  thee. 
And  drop  into  eternity! 

A  hymn  that  has  comforted  many  a  soul  at  the 
threshold  of  heaven  is  '^One  sweetly  solemn  thought," 
about  which  Miss  Phoebe  Gary,  who  wrote  it,  once  said : 
'^I  composed  it  in  the  little  back  third-story  bedroom, 
one  Sunday  morning,  after  coming  from  Church." 
The  hallowed  thoughts  of  the  sanctuary  were  woven 
into  the  noble  poem. 

Thus  we  have  considered  a  few  of  the  hymns  that 
have  voiced  intense  spiritual  experiences,  largely  in- 
duced by  subjective  causes.  Frequently,  however, 
some  external  cause,  some  critical  event,  some  calam- 
ity has  revealed  to  the  poet  aa  undreamed  vision  of 
divine  truth ;  and  with  a  new  sense  of  his  relation  to 


70 


MUSIC  AND  HYMNODY 


God  he  has  poured  forth  his  heart  in  the  living  lines  of 
an  exalted  hymn. 

The  calamity  of  blindness  in  banishing  physical 
light  from  the  afflicted  has  often  opened  to  the  soul 
new  flood-gates  of  spiritual  hght.  ^^Come,  0  my  soul! 
in  sacred  lays''  was  written  by  a  blind  man,  the  Rev. 
Thomas  Blacklock.  It  is  not  strange  that  his  con- 
ception of  heaven  was  of  a  place  of  ineffable,  eternal 
light,  as  we  see  in  the  second  verse  (23) : 

Enthroned  amid  the  radiant  spheres, 
He  glory  like  a  garment  wears; 
To  form  a  robe  of  light  divine, 
Ten  thousand  suns  around  him  shine. 

In  the  hymns  of  Fanny  Crosby,  the  aged  blind  singer, 
is  expressed  this  same  pathetic  yearning  for  light.  In 
one  hymn  she  prays:  ^'Lead  me  through  the  vale  of 
shadows''  (332) ;  in  another  (490) : 

Till  my  soul  is  lost  in  love 

In  a  brighter,  brighter  world  above. 

In  "Blessed  Assurance"  (548)  she  sings  of 

.    .    .    perfect  delight! 
Visions  of  rapture  burst  on  my  sight. 

Likewise  the  blind  English  clergyman,  William  W. 
Walford,  sang  of  the  vision  of  his  heavenly  home  (516) : 

.    .    .    Sweet  hour  of  prayer, 
May  I  thy  consolation  share, 
Till  from  Mount  Pisgah's  lofty  height, 
/  view  my  home,  ... 


The  story  is  told,  though  not  without  question, 
that  the  great  scholar  and  preacher,  George  Matheson, 
was  at  one  time  betrothed  to  marry  a  young  woman, 


1 


THE  STOEY  OF  THE  HYMNS            Yl  | 

when  the  physicians  one  day  told  him  that  his  long- 
fought  disease  of  the  eyes  must  soon  result  in  total  j 
blindness.  In  a  spirit  of  love  and  frankness  he  told  \ 
her  of  his  impending  sorrow,  of  his  great  love  for  her,  | 
but  of  his  willingness  to  release  her  from  her  promise,  | 
if  she  so  desired.  Her  decision  to  break  the  engage-  | 
ment  only  intensified  his  sorrow,  and  might  have  j 
driven  him  to  despair,  had  he  not  cast  himself  upon  the  | 
love  of  Christ,  and  found  the  divine  relief  which  he  so  \ 

pathetically  expresses  in  his  hymn :  \ 

I 

0  Love  that  wilt  not  let  me  go,  | 
I  rest  my  weary  soul  in  thee;  J 

1  give  thee  back  the  life  I  owe,  ] 
That  in  thine  ocean  depths  its  flow  I 

May  richer,  fuller  be.  ] 

O  Light  that  foUowest  all  my  way,  I 

I  yield  my  flickering  torch  to  thee;  ] 

My  heart  restores  its  borrowed  ray,  | 

That  in  thy  sunshine's  blaze  its  day 

May  brighter,  fairer  be.  \ 

Of  the  writing  of  this  hymn  Matheson  said :  ''I  was  | 
sitting  alone  in  my  study  in  a  state  of  great  mental  de- 
pression caused  by  a  real  calamity.  My  hymn  was  the  \ 
voice  of  my  depression.  It  was  not  made  for  utili-  | 
tarian  purposes;  it  was  wrung  out  spontaneously  | 
from  the  heart.  All  the  other  verses  I  have  written  J 
are  manufactured  articles;  this  came  like  a  dayspring  j 
from  on  high.''  j 

A  grief  similar  to  George  Matheson's  was  suffered  by  ! 

Joseph  Scriven,  whose  betrothed  was  drowned  shortly  ^ 

before  the  day  fixed  for  their  wedding.    The  intense  i 

sorrow,  into  which  his  joy  was  so  suddenly  changed,  | 


72 


MUSIC  AND  HYMNODY 


only  drove  him  closer  to  the  Divine  Friend;  for  he 
wrote : 

What  a  friend  we  have  in  Jesus, 
All  our  sins  and  griefs  to  bear! 

So  universally  true  and  helpful  is  the  sentiment  of 
this  hymn  that  it  has  been  printed  nearly  ten  million 
times. 

The  hardship  of  imprisonment  in  the  Convent  of 

Saint  Marie,  Paris,  1686,  in  Vincennes,  1695,  and  in 

the  Bastille,  1698-1702,  was  imposed  upon  Madame 

Jeanne  Marie  Bouviers  de  la  Mothe  Guyon,  because  of 

her  religious  beliefs.    Nor  was  this  hardship  any  less, 

since  her  child  had  died,  her  own  beauty  had  been 

blighted  by  smallpox,  her  mother-in-law  had  turned 

against  her,  and  severest  criticism  had  been  passed 

upon  her  creeds  by  many  theological  leaders.  In 

what  spirit  this  leader  of  the  Quietist  movement  and 

friend  of  Fenelon  bore  her  tribulations  we  may  know 

from  her  lines : 

My  Lord,  how  full  of  sweet  content 
I  pass  my  years  of  banishment! 

Helen  Maria  Williams  was  a  resident  in  Paris  when 
the  Bastille  fell  in  1789,  and  she  was  imprisoned  in  the 
Temple  as  a  foreign  suspect  until  the  death  of  Robes- 
pierre. Her  reliance  upon  divine  help  during  these 
days  of  anxiety  is  expressed  in  her  hymn,  ''While 
thee  I  seek,  protecting  Power.''  It  was  immediately 
after  all  of  Isaac  Watts's  property  had  been  destroyed 
by  fire  that  he  wrote,  ''Come,  sound  his  praise  abroad.'' 
In  the  line,  "We  are  his  works  and  not  our  own,''  he 
acknowledges  that  all  that  we  are  and  have  belongs  to 


THE  STOKY  OF  THE  HYMNS  73 


God.  Such  Christian  philosophy  makes  our  material 
losses  seem  trivial. 

To  a  sensitive  soul  the  misunderstanding  of  noble 
motives  brings  a  keenness  of  pain,  rarely  suspected  by 
the  accusers.  Every  evening  at  twilight  Mrs.  Phoebe 
Hinsdale  Brown  stole  away  from  her  four  children  to  a 
grove  near  by  for  prayer  and  meditation,  because  in 
their  poverty  they  were  living  in  an  imfinished  house 
in  Ellington,  Connecticut,  with  a  sick  sister  in  the  only 
finished  room.  To  the  gossipers,  who  for  this  daily 
absence  persecuted  her  with  false  accusations,  she  re- 
plied in  the  lines, 

I  love  to  steal  awhile  away 
From  little  ones  and  care, 

which,  modified,  and  shortened,  has  become  our 
hymn  (498). 

The  virulent  opposition  that  the  Wesleys  met  in 
preaching  anew  the  doctrines  of  regeneration  by  faith 
is  hard  to  understand  in  this  day  of  free  speech. 
Churchmen  called  them  ranting  enthusiasts  or  secret 
Papists.  Hardened  sinners  reviled  them.  Some- 
times they  were  stoned  by  the  mob,  sometimes  ar- 
rested by  the  authorities.  On  one  occasion  a  man 
kept  interrupting  Charles  Wesley's  sermon  with  vile 
epithets  and  mockery.  At  last  Wesley  silenced  him 
with  a  scathing  denunciation  of  the  man's  sin.  The 
sermon  proceeded,  and  the  divine  message  won  the 
hearts  of  many  in  the  audience.  Upon  retiring  from 
the  meeting  Wesley  wrote,  ''Jesus,  the  name  high  over 
air'  (222). 

Very  different  were  the  emotions  of  the  Rev.  Dr. 


74 


MUSIC  AND  HYMNODY 


John  Fawcett  when  he  produced  his  most  famous 
hymn,  '^Blest  be  the  tie  that  binds.''  Having  re- 
ceived, in  1772,  a  call  to  leave  his  charge  in  the  Bap- 
tist church  of  Wainsgate  to  become  pastor  of  a  large 
London  church,  he  was  about  to  go  when  his  people, 
broken-hearted,  besought  him  and  finally  persuaded 
him  to  remain,  though  his  personal  property  was  all 
ready  for  shipment.  He  said  to  them,  ^^You  may 
unpack  my  goods,  and  we  will  live  lovingly  together 
for  the  Lord/'  Thus  canie  to  be  written  the  great 
hymn  of  Christian  imity;  for  he  had  learned  that 
''When  we  asunder  part,  it  gives  us  inward  pain," 
and  henceforth  both  pastor  and  people  decided  to 
"Share  our  mutual  woes.  Our  mutual  burdens  bear," 
throughout  the  rest  of  life. 

Just  as  orators  have  arisen  in  the  might  of  their 
eloquence  to  command  the  thought  of  some  great 
occasion,  even  so  our  sacred  poets  in  their  purpose  to 
stir  the  emotions  and  direct  the  thought  of  some  great 
religious  gathering,  have  sometimes  produced  hymns 
that  have  outlived  the  occasions  for  which  they  were 
written — occasions  that  are  now  remembered  only 
because  of  their  hymns. 

Such  a  hymn  is  the  Christmas  song,  ''Hail  to  the 
Lord's  anointed,"  written  by  James  Montgomery 
for  a  gathering  of  the  British  Moravians  on  Christmas 
Day,  1821.  "Jesus,  where'er  thy  people  meet,"  was 
written  by  Cowper  upon  the  occasion  of  the  removal 
of  the  prayer  meeting  at  Olney  to  another  building. 
"Lord,  while  for  all  mankind  we  pray,"  was  composed 
in  1837  as  an  English  national  anthem  by  the  Rev, 


THE  STOEY  OF  THE  HYMNS  75 

John  R.  Wreford  at  the  time  of  Queen  Victoria's 
coronation.  Dr.  John  James  Bonar,  of  Saint  Andrew's 
Free  Church,  Greenock,  was  accustomed  to  print  a 
little  memorandum  for  each  communion  service  in  his 
church.  For  one  of  these  he  asked  his  brother.  Dr. 
Horatius  Bonar,  to  write  a  hymn;  and  for  this  coming 
Sabbath  was  written,  in  two  days,  the  hymn  for  the 
Lord's  Supper,  ^^Here,  0  my  Lord,  I  see  thee  face  to 
face."  ^Thou,  whose  unmeasured  temple  stands," 
by  William  Cullen  Bryant,  owes  its  existence  to  the 
dedication  of  a  chapel  on  Prince  Street,  New  York,  in 
1835.  In  its  original  form  it  began,  ^^0  Thou,  whose 
own  vast  temple  stands."  The  most  popular  Ameri- 
can poet  of  his  times  was  asked  to  write  a  hymn  of 
dedication  for  the  Hanover  Street  Church,  Boston,  and 
the  result  was  the  lines  beginning,  ^The  perfect  world 
by  Adam  trod,"  by  Nathaniel  P.  Willis.  '^Saviour, 
again  to  thy  dear  name  we  raise,"  by  the  Rev.  John 
Ellerton,  was  produced  in  1866  for  the  Parochial  Choirs 
Festival  at  Nantwich,  Cheshire;  and  ^Torward,  be 
our  watchword,"  was  written  in  June,  1871,  by  Dean 
Henry  Alford  for  the  Tenth  Festival  of  Parochial 
Choirs  of  the  Canterbury  Diocesan  Union. 

Dean  Shipley,  of  Saint  Asaph,  was  about  to  preach 
a  missionary  sermon  on  Whitsunday,  1819,  for  the 
Society  for  the  Propagation  of  the  Gospel  in  Foreign 
Parts.  The  day  before,  he  asked  his  son-in-law, 
Reginald  Heber,  rector  of  Hodnet,  to  write  "something 
for  them  to  sing  in  the  morning."  In  a  very  short  time 
he  completed  the  great  hymn  ^'From  Greenland's  icy 
moimtains,"  which  was  sung  the  next  morning. 


76 


MUSIC  AND  HYMNODT 


Dr.  Samuel  Wolcott's  ''Christ  for  the  world  we  sing" 
also  owes  its  birth  to  a  missionary  occasion,  though  in 
this  instance  it  was  written  after  the  meeting,  Febru- 
ary 7, 1869,  from  which  the  writer  was  returning  alone 
through  the  streets  when  these  lines  came  to  him.  In 
his  own  words  the  story  is  told:  'The  Young  Men's 
Christian  Association  of  Ohio  met  in  one  of  our 
churches  with  their  motto  in  evergreen  letters  over 
the  pulpit,  'Christ  for  the  World  and  the  World  for 
Christ.'  This  suggested  the  hymn,  'Christ  for  the 
world  we  sing.' " 

Similarly,  it  was  immediately  after  a  conference- 
room  talk  on  the  twenty-third  psalm,  and  while  still 
in  the  spirit  of  the  occasion,  that  the  Rev.  Joseph  H. 
Gilmore,  in  1861,  wrote,  "He  leadeth  me,"  in  the  home 
of  a  friend  in  Philadelphia,  where  he  was  visiting 
while  supplying  a  Baptist  pulpit  in  that  city. 

A  legend,  containing  only  the  three  words  "Sleeping 
in  Jesus,"  inscribed  on  a  tombstone  in  the  cemetery 
of  Pennycross  Chapel  in  Devonshire,  led  Margaret 
Mackay  to  write  for  The  Amethyst  of  Edinburgh  the 
beautiful  funeral  hymn,  "Asleep  in  Jesus." 

The  poetic  inspirations  derived  from  nature,  stirring 
the  human  soul  and  suggesting  divine  truth,  have  not 
left  hymnology  wholly  uninfluenced.  The  stars,  the 
sea,  the  earth  with  its  mountains,  hills,  plains,  and 
rivers,  its  flowers  and  birds,  winter  storms  and  har- 
vests of  "full  corn,"  with  the  "bright  blue  sky"  above 
it — all  these  are  portrayed  within  our  Hymnal,  and 
evidence  the  poets'  visions  of  beauty  in  nature.  We 
are  told  that  Isaac  Watts  wrote  his  hymn  of  heaven, 


THE  STOEY  OF  THE  HYMNS  17 


^'Thefe  is  a  land  of  pure  delight/'  while  in  South- 
ampton, England,  and  that  his  view  of  the  Isle 
of  Wight  across  the  River  Itchen  suggested  the 
famihar  lines: 

Sweet  fields  beyond  the  swelling  flood 

Stand  dressed  in  living  green; 
So  to  the  Jews  old  Canaan  stood, 

While  Jordan  rolled  between. 

The  South  of  England  is  pictured  in  another  hymn, 
*'Lo!  on  a  narrow  neck  of  land/'  which  Charles  Wesley 
is  said  to  have  written  at  Land's  End  in  Cornwall. 
Some  have  maintained  that  this  hymn  was  written 
upon  a  foreign  journey,  but  even  so,  it  must  have  been 
reminiscent  of  Land's  End,  which  Wesley  had  fre- 
quently visited. 

We  have  already  referred  to  the  tradition  which 
attributes  much  of  the  imagery  of  '^Lead,  kindly 
Light,"  to  the  scenes  upon  a  voyage  on  the  Mediter- 
ranean. More  trustworthy  is  the  narrative  concerning 
Joseph  Addison's  hymn.  Returning  from  the  terrors 
of  a  voyage  on  the  Mediterranean  Sea,  he  gives  us 
from  his  own  recent  experiences  a  picture  of  the 
Christian  traveler's  gratitude  in  his  hymn,  "How  are 
thy  servants  blest,  0  Lord!"  which  is  embodied  in 
his  essay  on  'The  Sea,"  in  the  Spectator,  No.  489,  in 
1712.  The  second  verse  describes  the  hardships 
through  which  he  had  safely  passed : 

In  foreign  realms,  and  lands  remote, 

Supported  by  thy  care, 
Through  burning  climes  they  pass  unhurt, 

And  breathe  in  tainted  air. 


78 


MUSIC  AND  HYMNODY 


Again  in  a  description  of  the  retiring  storm  he 
says: 

The  storm  is  laid,  the  winds  retire, 

Obedient  to  thy  will; 
The  sea,  that  roars  at  thy  command, 

At  thy  command  is  still. 

It  was  the  same  vivid  memory  of  travels  in  Pales- 
tine a  few  months  before  that  enabled  Bishop  PhilUps 
Brooks  to  touch  our  imaginations  in  his  exquisite 
Christmas  hymn,  so  that  we  almost  behold  the  very 
birthplace  of  Christ,  as  we  sing : 

O  little  town  of  Bethlehem,  how  still  we  see  thee  lie! 
Above  thy  deep  and  dreamless  sleep  the  silent  stars  go  by; 
Yet  in  thy  dark  streets  shineth  the  everlasting  Light; 
The  hopes  and  fears  of  all  the  years  are  met  in  thee  to- 
night. 

Dean  Arthur  P.  Stanley's 

O  Master,  it  is  good  to  be 
High  on  the  mountain  here  with  thee, 

was  written  after  his  visit  in  1853  to  Palestine. 

Of  Bishop  Ken's  '^Evening  Hymn''  Theron  Brown 
says,  ^The  'Evening  Hymn'  drew  scenic  inspiration,  it 
is  told,  from  the  lovely  view  in  Horningsham  Park  at 
'Heaven's  Gate  Hill,'  while  the  author  was  walking 
to  and  from  church  in  the  twilight.  Still  another  night 
scene,  portrayed  in  hymn  lines,  was  the  night  glow  in 
the  sky  from  the  great  fires  of  the  Newcastle  Collieries, 
which  Charles  Wesley  was  visiting,  in  order  to  preach 
to  the  colliers.  Likening  this  to  the  gospel  fires,  he 
sang: 

See  how  great  a  flame  aspires. 
Kindled  by  a  spark  of  grace! 

i"The  story  of  the  Hymns  and  Tunes,"  by  Theron  Brown  and  Hezekiah 
Butterworth. 


THE  STORY  OF  THE  HYMNS  79 


Jesus*  love  the  nations  fires, 

Sets  the  kingdoms  on  a  blaze: 
To  bring  fire  on  earth  he  came; 

Kindled  in  some  hearts  it  is : 
O  that  all  might  catch  the  flame, 

All  partake  the  glorious  bliss! 

The  stone  quarry  in  the  Isle  of  Portland  was  a  great 
industry,  peculiar  to  the  town  where  he  was  preaching 
at  the  time,  that  suggested  a  hymn  to  Charles  Wesley. 
Before  preaching  to  the  quarrymen  he  wrote : 

Come,  O  thou  all  victorious  Lord, 

Thy  power  to  us  make  known; 
Strike  with  the  hammer  of  thy  word, 

And  break  these  hearts  of  stone, 

a  figure  of  speech  that  must  have  stirred  the  imagina- 
tions of  the  workmen. 

Not  all  the  uiteresting  stories  of  our  hymns  center 
about  their  origin;  for  with  the  use  of  the  hymns 
thousands  of  thrilling  memories  are  associated,  recall- 
ing scenes  when  the  quoting  or  singing  of  a  hymn  has 
stirred  the  deepest  emotions  of  the  soul. 

Could  the  hymns  in  our  Methodist  Hymnal  recite 
the  story  of  all  the  deathbeds  they  have  cheered,  what 
a  wonderful  testimony  to  the  faith  and  fearlessness  of 
the  dying  Christian  would  be  told !  Isaac  Watts  wrote 
(in  hynrn  No.  581) : 

Jesus  can  make  a  dying-bed 
Feel  soft  as  downy  pillows  are, 

While  on  his  breast  I  lean  my  head, 
And  breathe  my  life  out  sweetly  there. 

In  many  a  Christian  home  where  this  miracle  has 


80 


MUSIC  AND  HYMNODY 


been  wrought,  there  are  cherished  among  the  tender- 
est  memories 

Those  sweet,  fervent  hymns 
Made  sacred  by  how  many  saints  of  God, 
Who  breathed  their  souls  out  on  the  well-loved  tones.^ 

The  story  is  sometimes  repeated  in  the  writer's 
home  of  the  last  words  of  Great-grandfather  Miller, 
whose  saintly  life  was  crowned  with  a  triumphant 
death.  Surrounded  by  his  sorrowing  family,  his 
dying  request  was  that  they  sing  his  favorite  hymn, 
^There  is  a  fountain  filled  with  blood/'  But  so  great 
was  their  grief  they  could  scarcely  sing,  and  when  they 
reached  the  end  of  the  fourth  verse,  ''And  shall  until  I 
die,"  their  voices  broke  down.  Then,  gathering  up 
what  little  strength  he  had  left,  he  sang  the  last  verse 
alone : 

"Then  in  a  nobler,  sweeter  song, 

I'll  sing  thy  power  to  save. 
When  this  poor  Hsping,  stammering  tongue 

Lies  silent  in  the  grave." 

And  with  these  words  his  body  fell  back,  while  his  soul 
took  up  the  nobler,  sweeter  song. 

One  of  the  earliest  accounts  of  a  hymn  being  sung 
by  a  departing  Christian  relates  to  the  death  of  the 
Venerable  Bede,  on  May  26,  in  the  year  735.  He  re- 
quested his  sorrowing  friends  to  carry  him  to  that  part 
of  the  room  where  he  had  always  prayed ;  and  there 
he  sang  the  Gloria  Patri,  beginning  with  feeble  voice, 
'^Glory  be  to  the  Father,^'  and  continuing  until  with 
his  last  breath  he  uttered,  ^  Vorld  without  end.'' 

Many  Methodist  saints,  who  have  been  canonized 

1  By  Richard  Watson  Gilder. 


THE  STOEY  OF  THE  HYMNS  81 

at  least  in  the  affections  of  the  Church,  have  expressed 
by  some  hymn  the  joy  of  passing  to  the  larger  life. 
John  Wesley,  the  day  before  he  died,  sang  the  first  two 
verses  of  Watts's  old  hymn : 

I'll  praise  my  Maker  while  IVe  breath, 
And  when  my  voice  is  lost  in  death, 
Praise  shall  employ  my  nobler  powers. 

Bishop  Hedding,  who  died  in  New  York,  April  29, 
1852,  spoke  in  his  last  words  of  the  ineffable  joy  of 
fifty  years  of  service  for  the  Master.  ^^I  want  to  tell  it 
to  all  the  world!''  he  exclaimed.  '^0,  that  I  had  a 
trumpet  voice ! 

Then  would  I  tell  to  sinners  round 
What  a  dear  Saviour  I  have  found.' '' 

Dr.  Nathan  Bangs  in  his  last  illness  quoted  the 
third  verse  of  our  hymn  (371) : 

The  promised  land,  from  Pisgah's  top, 

I  now  exult  to  see : 
My  hope  is  full,  O  glorious  hope! 

Of  immortality. 

Bishop  Matthew  Simpson,  shortly  before  his  death, 
in  1884,  quoted  this  verse : 

O,  would  he  more  of  heaven  bestow! 

And  when  the  vessels  break 
Let  our  triumphant  spirits  go 

To  grasp  the  God  we  seek; 
In  rapturous  awe  on  him  to  gaze, 

Who  bought  the  sight  for  me; 
And  shout  and  wonder  at  his  grace, 

To  all  eternity. 

The  last  line  he  repeated  over  and  over  again.  His 
last  audible  words  were,  ^^Yes!  yes!  glory  be  to 
Jesus!" 


82 


MTTSIC  AND  HYMNODY 


A  most  pathetic  but  appropriate  use  of  an  old, 
familiar  hymn  is  the  story  of  the  deathbed  of  the  Rev. 
Thomas  Stockton.  He  had  fallen  into  a  sleep,  which 
his  sorrowing  friends  thought  was  his  last.  But  just 
before  he  died,  he  awakened,  looked  upon  them  and 
said: 

"And  are  we  yet  alive, 
And  see  each  other's  face?" 

Many  a  statesman  or  leader  in  public  life, 
humbled  to  pass  through  the  same  way  we  all 
must  tread,  has  departed  this  life  with  hymns  of 
faith  upon  his  lips.  Thus  Cobden  died,  repeating 
John  Wesley's  hymn  : 

"What  though  my  flesh  and  heart  decay? 
Thee  shall  I  love  in  endless  day!" 

Prince  Albert,  Queen  Victoria's  royal  consort,  in  his 
last  moments  quoted  ^^Rock  of  Ages,''  and  President 
McKinley  uttered  lines  from  ^  ^Nearer,  my  God,  to 
thee,"  as  he  was  dying;  and  each  of  these  hymns 
echoed  throughout  the  two  brother  Anglo-Saxon 
nations.  Wordsworth's  daughter  was  comforted  at 
the  approach  of  death  by  the  hymn,  ^^Just  as  I  am," 
which  had  been  repeated  to  her  every  morning  for  two 
months  previous.  Jerome  of  Prague,  marching  to  his 
execution,  sang:  ^^Welcome,  happy  morning." 

Sometimes  a  poet  on  his  deathbed  has  been  com- 
forted by  the  lines  of  a  hymn  written  by  himself.  The 
Rev.  Sir  Henry  Williams  Baker,  as  he  was  dying  on 
February  12,  1877,  spoke  in  clear,  hopeful  tones  a 
part  of  his  own  hymn  on  the  twenty-third  psalm, 


THE  STOEY  OP  THE  HYMNS 


8S 


''The  King  of  love  my  Shepherd  is/'  which  bears  these 
Hnes: 

In  death's  dark  vale  I  fear  no  ill 
With  thee,  dear  Lord,  beside  me. 

His  last  words  were, 

"And  on  his  shoulder  gently  laid, 
And  home,  rejoicing,  brought  me." 

Likewise,  Frances  Ridley  Havergal  at  the  very  close 
of  a  life  of  tender,  courageous  witnessing  for  the  Mas- 
ter, sang  a  verse  of  her  hymn,  which  begins,  ''Golden 
harps  are  sounding'';  and  after  a  convulsive  sickness 
she  whispered,  "There,  now,  it's  all  over,"  as  the 
"Pearly  gates  were  opened"  for  her  soul. 

Dr.  George  J.  Stevenson's  volume,  "The  Methodist 
Hymn  Book  and  Its  Associations,"  is  a  treasury  of  the 
triumphant  dying  words  of  godly  men  and  women 
who  were  Wesley  an  Methodists  in  England.  Among 
these  are  some  fourscore  hymns  in  our  own  collection, 
from  which  lines  of  triumph  and  faith  have  been 
uttered  in  the  dying  moments  of  the  devout.  How 
clearly  and  tenderly  our  hymns,  even  those  not 
classed  as  hymns  of  heaven,  express  the  thought  and 
sentiment  of  that  solemnly  joyful  hour  of  death  may 
be  seen  from  such  phrases  as  these,  each  well  accepted 
as  the  last  words  spoken  or  sung  by  some  Christian. 
They  are  here  arranged  in  logical  order: 

Teach  me  to  die,  that  so  I  may 

Rise  glorious  on  the  judgment  day  (49). 

Then  pain 
Is  sweet,  and  life  or  death  is  gain  (335). 


84  MIJSIO  AND  HYMNODT 

But  there's  a  nobler  rest  above  (73). 

In  death  as  life  be  thou  my  guide, 

And  save  me,  who  for  me  hast  died  (333). 

Happy,  if  with  my  latest  breath 
I  may  but  gasp  his  name  (222). 

Into  thy  arms  I  fall  (268). 

The  clouds  disperse,  the  shadows  fly; 
The  Invisible  appears  in  sight. 

And  God  is  seen  by  mortal  eye  (298). 

The  opening  heavens  around  me  shine 
With  beams  of  sacred  bliss  (535). 

And  angels  beckon  me  away, 
And  Jesus  bids  me  come  (624). 

Our  shelter  from  the  stormy  blast, 
And  our  eternal  home  (577). 

There  all  the  ship's  company  meet, 

Who  sailed  with  the  Saviour  beneath  (594). 

There  we  shall  see  his  face. 
And  never,  never  sin  (22). 

Through  all  eternity  to  thee 
A  grateful  song  I'll  raise  (105). 

These,  and  many,  many  other  similar  passages, 
have  cheered  a  host  of  departing  pilgrims,  and  will 
long  be  remembered  as 

The  hymns  with  which  they  passed  away  from  earth 
In  long-gone  centuries,  that  backward  sweep.^ 

The  great  variety  of  conditions  under  which  hymns 
have  been  used  as  prayers  is  remarkable.  The 
writer  never  so  fully  realized  the  power  of  a  hymn, 
uttered  in  prayer,  as  upon  one  summer  morning 

1  From  **  Alma  Vista,"  by  Lebbeus  Harding  Rogers. 


THE  STOKY  OF  THE  HYMNS 


85 


near  Intervale  in  the  White  Mountains.  We  paused 
at  a  farmhouse  to  inquire  the  way  up  the  mountain. 
An  old,  old  man  opened  the  door,  his  head  crowned 
with  thick,  snow-white  hair,  his  face  a  benediction  of 
goodness.  When  he  had  told  us  the  way  we  inquired 
if  he  knew  the  great  Guide  to  the  heavenly  road.  His 
answer  was  the  story  of  his  life  in  brief,  a  life  devoted 
to  the  Master's  service  in  preaching,  teaching,  and 
living  the  gospel.  Before  we  continued  our  tramp  he 
asked  us  to  kneel  with  him  to  pray,  and  with  an  in- 
finite earnestness,  and  in  every  phrase  a  strange  pathos 
and  power,  he  poured  out  his  heart  in  the  lines : 

When  I  survey  the  wondrous  cross 
On  which  the  Prince  of  glory  died. 

All  four  verses  he  recited,  and  this  alone  was  his  prayer, 
one  of  the  most  eloquent  petitions  we  had  ever  heard. 

An  ancient  Methodist  illustration  of  the  effective 
use  of  hymns  in  soul-winning  was  the  conversion  of 
Sarah  Baker,  of  Tiverton  in  England,  while  after  his 
sermon,  Mr.  Rouse,  a  local  preacher,  was  reading  the 
line,  ^This  is  the  time,  no  more  delay/'  Instances  of 
conversions,  such  as  this,  are  the  most  practical  argu- 
ments in  favor  of  the  time-honored  custom  of  reading 
hymns  before  singing,  in  order  to  more  deeply  impress 
the  thought  of  the  words.  Similarly,  the  Rev.  Samuel 
Wesley's  hymn,  ^'Behold  the  Saviour  of  mankind/' 
while  being  read  at  a  love  feast,  led  Owen  Davis,  a 
Welshman,  to  accept  the  atonement  of  Christ,  and, 
yielding  his  life  to  the  Master's  service,  he  became  one 
of  John  Wesley's  effective  preachers.  The  original 
manuscript  of  this  hymn,  no  copy  being  then  in  exist- 


86 


MUSIC  AND  HYMNODT 


ence,  was  almost  miraculously  saved  by  being  blown 
out  of  the  window  during  the  fire  that  burned  the 
Epworth  Rectory  to  the  groimd,  August  24, 1709. 

Sometimes  by  reading  a  hynm  in  private,  a  soul  has 
been  awakened  to  conviction  and  repentance.  Thus 
a  Walkeringham  teacher,  William  Morris,  was  con- 
verted by  reading  the  lines  beginning:  '^Stimg  by  the 
scorpion  sin,''  in  the  hymn,  ^^Let  heaven  and  earth 
agree.''  In  the  quietude  of  family  devotions,  John 
Watson,  of  Yorkshire,  joined  in  the  singing  of  ^Wel- 
come, sweet  day  of  rest."    The  lines. 

One  day  amidst  the  place 

Where  my  dear  Lord  has  been 

Is  better  than  ten  thousand  days 
Of  pleasurable  sin, 

became  engraved  upon  his  conscience,  and,  retiring  to 
solitude,  he  gave  his  heart  and  life  to  God. 

Dr.  Stevenson  at  one  time  compiled  a  record  of  two 
hundred  souls  who  had  been  converted  at  various 
times  during  the  singing  of  '^Arise,  my  soul,  arise." 
He  also  tells  the  story  of  a  young  man,  a  leader  in 
social  gayety,  who  had  been  persuaded  by  a  friend  to 
attend  a  Bible  reading.  Retiring  to  a  saloon  for 
revelry  to  stifle  his  conscience,  he  was  haunted  by  the 
lines  sung  at  the  meeting: 

Come,  Holy  Spirit,  heavenly  Dove, 
With  all  thy  quickening  powers; 

Come,  shed  abroad  a  Saviour's  love, 
And  that  shall  quicken  ours. 

He  soon  left  the  house,  and  sought  the  pardon  of  God. 

The  wife  of  the  Rev.  John  Shipman,  a  Wesleyan 
minister,  attributed  her  conversion  to  the  influence  of 


THE  STOEY  OF  THE  HYMNS  87 


the  hymn,  ^^Come,  let  us  anew  our  journey  pursue/^ 
as  sung  at  a  Watch-night  meeting  in  Aberdeen,  Scot- 
land, when  she  was  a  girl. 

It  was  through  the  singing  of  Isaac  Watts's  hymn, 
'^Alas!  and  did  my  Saviour  bleed,''  that  the  evangelist 
E.  P.  Hammond  was  converted  at  the  age  of  seventeen 
in  Southington,  Connecticut.  Dr.  Duffield^  tells  us  of 
a  sailor  fearing  the  approach  of  death,  and  having  no 
Bible  to  comfort  him,  remembered  at  last  the  hymn 
line:  'Tor  he  was  slain  for  us.''  Then,  recalling  the 
rest  of  the  hymn,  ''Come,  let  us  join  our  cheerful 
songs,"  he  found  divine  acceptance.  Other  instances 
he  gives  us.  During  a  frightful  storm  the  Rev. 
Andrew  Kinsman  was  dining  with  a  young  man, 
whom  he  had  met  in  company  with  the  great  Rev. 
George  Whitefield.    Quoting  to  him  the  lines* 

^The  God  that  reigns  on  high, 
And  thunders  when  he  please/' 

Kinsman  added, 

'This  awful  God  is  ours, 
Our  Father  and  our  Love" ; 

and  this  led  to  the  young  man's  conversion. 

Dr.  Spencer,  in  "Pastor's  Sketches,"  relates  a  young 
woman's  conversion  to  the  singing  of  the  hymn: 
"How  sad  our  state  by  nature  is!"  early  in  one  of  his 
Sabbath  services.    Her  mind  seized  upon  the  lines, 

x\  guilty,  weak,  and  helpless  worm, 
On  thy  kind  arms  I  fall, 

imtil  finally  she  believed  and  trusted  the  Saviour. 

\  "English  Hymng."  by  Dt.  George  Duffield. 


88 


MUSIC  AND  HYMNODY 


Fanny  Crosby  (Van  Alstj^e),  the  blind  poet,  five  of 
whose  hymns  are  in  our  Hymnal,  in  telling  the  story  of 
her  conversion,  says  that  during  a  revival  in  the  old 
Thirtieth  Street  Church,  New  York,  in  1850,  several 
times  she  had  sought  the  Saviour  at  the  altar;  but  not 
until  one  evening,  November  20,  did  the  light  come. 
"After  a  prayer  was  offered  they  began  to  sing  the 
grand  old  consecration  hymn,  'Alas!  and  did  my 
Saviour  bleed,'  and  when  they  reached  the  third  line 
of  the  fourth  stanza,  'Here,  Lord,  I  give  myself  away,' 
my  very  soul  flooded  with  celestial  light/'  Again,  as 
in  her  hymns,  the  blind  singer  uses  here  the  figure  of 
light  to  represent  salvation  and  eternal  life. 

The  good  ship  Rothsay  Castle  was  wrecked  between 
Liverpool  and  Beaumaris  in  1831,  and  nearly  a  hun- 
dred people  were  drowned.  James  Martin,  a  class 
leader  from  Liverpool,  was  clinging  to  a  plank,  from 
which  several  had  dropped  into  the  sea,  when  suddenly 
those  near  by  heard,  in  his  voice : 

"The  God  that  rules  on  high, 

That  all  the  earth  surveys, 
That  rides  upon  the  stormy  sky, 

And  calms  the  roaring  seas. 

''This  awful  God  is  ours. 

Our  Father  and  our  Love, 
He  will  send  down  his  heavenly  powers 

To  carry  us  above.'' 

After  thus  fearlessly  facing  death,  he  was  rescued  with 
a  score  of  others. 

Professor  Dempter,  of  the  Garrett  Biblical  Institute, 
and  a  company  of  missionaries  on  their  way  to  South 
America  were  chased  for  three  days  by  a  pirate  ship. 


THE  STOKY  OF  THE  HYMNS  89 


As  the  pirates  approached,  the  ship's  company  went 
on  deck,  and  all  of  them  sang  to  the  tune  of  ^^Old 
Hundred^^ 

'^Before  Jehovah's  awful  throne, 
Ye  nations  bow  with  sacred  joy; 

Know  that  the  Lord  is  God  alone, 
He  can  create  and  he  destroy." 

While  they  were  kneeling  in  prayer  the  enemy  lay  by, 
near  the  side  of  their  vessel,  then  turned  about,  and 
sailed  away. 

John  Wesley,  about  to  preach  in  the  market  place 
at  Chesterfield,  was  haled  before  a  magistrate.  But 
before  going  he  said  to  his  congregation,  'Triends, 
sing  a  hymn  while  I  am  gone;  I  shall  soon  be  back." 
And  then  he  gave  out  the  hymn : 

Why  should  the  children  of  a  King 
Go  mourning  all  their  days? 

In  a  short  time,  while  they  were  still  singing  over  the 
hymn,  he  returned  triumphant. 

A  remarkable  story  is  told  by  Dr.  Duffield  of  the 
hymn,  ''All  hail  the  power  of  Jesus'  name.''  The  Rev. 
E.  P.  Scott,  while  a  missionary  in  India,  started  out, 
contrary  to  the  pleas  of  his  friends,  to  visit  a  distant 
tribe  of  murderous  mountaineers.  Upon  first  seeing 
him  the  natives  pointed  their  spears  at  his  heart. 
Expecting  instant  death,  he  brought  forth  his  violin, 
and  played  while  he  sang  with  closed  eyes,  '^All  hail 
the  power  of  Jesus'  name."  When  he  came  to  the 
verse,  "Let  every  kindred,  every  tribe,"  he  opened  his 
eyes  to  find  their  attitude  wholly  changed.  This  was 
the  beginning  of  two  years  and  a  half  of  blessed  service 


90 


MUSIC  AND  HYMNODY 


in  preaching  Christ  and  teaching  this  tribe  to  ^^crown 
him  Lord  of  all/' 

One  of  the  most  dramatic  settings  for  the  singing  of 
a  hymn  was  the  occasion  upon  which  King  George  of 
Tonga  formally  proclaimed  his  nation  to  be  hence- 
forth Christian,  granting  to  them  a  Christian  constitu- 
tion. Five  thousand  natives  on  Whitsunday,  1862, 
assembled  about  their  king,  sang  the  hymn  (631) : 

Jesus  shall  reign  where'er  the  sun 
Does  his  successive  journeys  run; 
His  kingdom  spread  from  shore  to  shore, 
Till  moons  shall  wax  and  wane  no  more. 

A  curious  use  of  hymns  is  cited  by  Fanny  Crosby 
in  her  autobiography,  ' 'Memories  of  Eighty  Years' ^ 
''When  a  member  of  the  Soldiers'  Christian  Union 
meets  a  comrade  he  says,  'Four  hundred  and  ninety- 
four,'  which  is  the  number  of  'God  be  with  you  till  we 
meet  again'  in  'Sacred  Songs  and  Solos';  the  latter 
replies,  'Six  farther  on,'  that  is  500,  which  is  the  num- 
ber of  'Blessed  assurance.'  " 

The  famous  temperance  advocate,  John  B.  Gough, 
tells  of  his  sad  parting  from  his  mother  at  home  to  sail 
for  America.  The  ship,  becalmed  off  Sandsgate,  his 
home,  was  visited  by  many  of  his  friends  and  relatives, 
and  at  last  by  his  mother,  who  had  been  away  during 
most  of  the  day.  When  night  shut  down  upon  them 
and  the  boats  were  drawing  away  in  the  darkness  to 
the  shore,  all  joined  in  singing : 

Blest  be  the  dear,  uniting  love, 

Which  will  not  let  us  part; 
Our  bodies  may  far  hence  remove, 

We  still  are  one  in  heart. 


THE  STOEY  OF  THE  HYMNS  91 


The  Rev.  Dr.  Samuel  West,  an  old-time  New  Eng- 
land pastor,  once  won  over  his  recalcitrant  choir, 
which  had  refused  to  sing  in  the  service,  by  giving  out 
the  hymn,  '^Come,  ye  that  love  the  Lord,"  and 
asking  all  to  begin  with  the  second  verse: 

Let  those  refuse  to  sing, 
Who  never  knew  our  God. 

The  spirit  of  warfare,  so  alien  to  the  Christian  faith, 
has  been  sometimes  justified  and  sanctified  when 
applied  to  a  righteous  cause ;  and  with  its  heroisms  are 
often  associated  the  singing  of  hymns.  ^Terrible  as 
is  war,''  said  Heine, '^it  yet  displays  the  spiritual  gran- 
deur of  man,  daring  to  defy  his  mightiest  and  heredi- 
tary enemy.  Death.''  While  the  ungodly  man,  with  a 
grim  outward  stoicism,  sets  his  face  stolidly  toward 
battle,  the  true  Christian,  fighting  for  some  sacred 
cause  in  the  name  of  the  Prince  of  Peace,  advances 
enthusiastically  with  a  hymn  in  his  heart  and  oft- 
times  upon  his  lips,  and  scorns  death  merely  as  the 
'^narrow  stream"  that  '^divides  that  happy  land  from 
ours."  In  this  spirit  many  times  has  a  German  army 
charged  into  battle,  singing  Luther's  '^Ein'  feste  Burg" 
(written  in  1529),  the  better  to  ^^fight  the  good  fight 
with  all  their  might,"  the  good  fight  of  militant 
Protestantism.  This  hymn,  styled  by  Heine  ^The 
Marseillaise  of  the  Reformation,"  is  known  to  have 
been  sung  by  the  army  of  Gustavus  Adolphus  before 
the  Battle  of  Leipzig,  in  1631,  and  also  before  the 
Battle  of  Liitzen,  in  1632.  The  Huguenots  of  France 
frequently  used  it  during  the  troublous  years,  1560 


92 


MUSIC  AND  HYMNODY 


to  1572;  and  many  instances  are  recorded  of  its 
use  by  regiments  of  Germans  in  the  Franco-Prussian 
war. 

'Tear  not,  0  little  flock,  the  foe,"  was  composed 
and  used  as  the  battle  song  of  the  Swedish  king,  Gus- 
tavus  Adolphus,  in  his  campaign  against  Wallenstein 
for  the  preservation  of  Protestantism  in  Germany. 
Of  several  theories  as  to  its  authorship,  the  most 
probable  one,  and  that  accepted  by  the  editors 
of  our  Hymnal,  is  that  Dr.  Jacob  Fabricus  (or 
Fabricius),  the  court  chaplain,  in  these  poetical 
lines  paraphrased  the  thought  and  sentiment  of  the 
king,  thus  giving  to  the  army  a  hymn,  by  which 
they  conquered  in  the  Battle  of  Liitzen,  though  at 
the  frightful  cost  of  losing  their  gallant  and  devout 
commander. 

Another  German  hymn  of  war  times  is  "Now  thank 
we  all  our  God."  Some  evidence  makes  questionable 
the  story  that  it  was  written  as  a  national  Te  Deum 
after  the  Thirty  Years'  War  (1618-1648).  Even 
though  it  may  have  been  written  during  the  war,  it 
was  undoubtedly  used  after  the  Peace  of  Westphal  as  a 
song  of  deliverance  by  the  German  people,  who,  like 
its  author,  had  suffered  frightful  hardships  to  win  the 
war. 

Oliver  CromwelFs  army  was  ridiculed  as  a  psalm- 
singing  rabble,  though  his  detractors  knew  well  that 
the  very  singing  of  their  hymns  helped  to  make  them 
the  one  invincible  army  in  all  Europe. 

In  a  later  chapter  we  mention  the  tune  "Caledonia," 
to  which  the  Scottish  warriors  frequently  sang  the 


THE  STOKY  OF  THE  HYMNS 


93 


melody,  later  set  to  ^ 'Scots,  wha  hae  wi^  Wallace 
bled,''  as  they  charged  upon  the  English  foe  in  the 
effort  to  regain  the  throne  for  James  III. 

In  our  own  land  how  often  has  the  anthem,  ''My 
country,  'tis  of  thee,"  inspired  a  regiment  of  soldiers! 
During  the  Revolutionary  War,  long  before  this  hymn 
was  written,  an  incident  occurred  concerning  its  tune, 
which  Dr.  Duffield  has  repeated.  A  company  of 
British  soldiers  entered  a  Long  Island  church  and 
commanded  the  colonists  to  sing,  ''God  save  the 
king."  The  melody  was  sung,  but  in  devotion  to 
their  consciences  and  to  their  God,  the  people  sang 
the  words  frequently  used  in  the  earlier  days  to  this 
tune,  thereby  confounding  their  enemies: 

Come,  thou  almighty  King, 
Help  us  thy  name  to  sing, 

The  Rev.  Dr.  James  H.  Perry,  pastor  of  the  Pacific 
Street  Methodist  Episcopal  Church  in  Brooklyn,  was 
attending  Conference  in  the  spring  of  1861,  when  the 
news  of  the  bombardment  of  Fort  Sumter  was  re- 
ceived. He  arose  amid  the  intense  excitement,  and 
said:  "I  was  educated  by  the  government;  it  now 
needs  my  services.  I  shall  resign  my  ministry  and 
again  take  up  my  sword."  He  became  colonel  of 
the  48th  Regiment  N.  Y.  S.  Volunteers,  which  was 
known  as  "Perry's  Saints."  The  Rev.  Dr.  A.  J.  Pal- 
mer, formerly  missionary  secretary,  tells  in  his  book 
and  in  his  famous  lecture  the  story  of  his  Company  D 
in  this  regiment,  which  always  went  into  battle  sing- 
ing, "I'm  going  home  to  die  no  more."    Their  com- 


94 


MUSIC  AND  HYMNODY 


rades,  therefore,  nicknamed  the  company  'The  Die- 
no-mores."^ 

There  was  another  hymn,  ''Say,  brothers,  will  you 
meet  us,''  brought  from  Methodist  camp  meetings  to 
the  army  by  the  Second  Battalion  of  Massachusetts 
Infantry,  whose  tune,  fortunately  not  in  our  present 
Hymnal,  exerted  a  wide  influence  in  the  Civil  War; 
for  to  this  tune  the  words,  "John  Brown's  body,''  were 
sung  throughout  the  army,  and  later  also  the  "Battle 
Hymn  of  the  Republic,"  by  Julia  Ward  Howe. 

1  Gf.  *'  48th  Regiment  State  Volunteers/'  by  A.  J.  Palmer.  Published, 
1885,  by  Veteran  Association  of  the  Regiment. 


CHAPTER  V 


THE  HYMN-WRITERS 

English   Hymnody — American   Hymnody — The 
Translations — The  Titles 

If  the  bibliography  of  hymnody,  the  body  of  the 
hymns,  and  hymnology,  the  science  of  hymns,  were 
developed  exhaustively,  the  study  would  attain  to 
tremendous  proportions.  Dr.  Julian  in  his  ^'Dic- 
tionary of  Hymnology'^  says:  ^The  total  number  of 
Christian  hymns  in  the  two  hundred  or  more  dialects 
in  which  they  have  been  written  or  translated  is  not 
less  than  four  hundred  thousand.  When  classified 
into  languages  the  greatest  number  are  found  to  be 
in  German,  English,  Latin,  and  Greek  in  the  order 
named.''  Only  a  few  hymns  have  survived  to  be 
adopted  by  the  modern  Church,  and  a  large  propor- 
tion of  the  best  of  these  are  to  be  found  within  the 
Methodist  Hymnal. 

To  adequately  tell  the  story  of  even  our  own 
seven  hundred  and  forty-eight  hymns,  with  critical 
accounts  of  their  authors,  the  conditions  under 
which  they  were  written,  the  publications  first  con- 
taining them  and  the  dates  thereof,  their  successive 
alterations  and  the  stories  of  their  use — all  these 
legitimate  inquiries  of  hymnology  would  easily  ex- 
pand into  the  proportions  of  a  small  library. 
One  hymnologist  in  Brooklyn,  New  York,  has 
attempted  this  with  a  body  of  hymns  in  common 

95 


96 


MUSIC  AND  HYMNODT 


use,  and  already  his  large  manuscript  volumes 
number  forty.  Having  already  examined  a  few 
typical  hymns  and  their  stories,  we  must  be 
content  with  but  a  glimpse  of  some  of  the  more 
prominent  hymn  authors,  an  outline  of  the  suc- 
cessive periods  in  English  hymn-writing,  together 
with  a  statement  of  our  debt  to  the  hymns  of 
foreign  languages. 

The  foundations  of  English  hymnody  rest  largely 
upon  the  metrical  versions  of  the  Psalms,  which,  to- 
gether with  other  scriptural  translations,  were  long 
regarded  as  the  only  hymn-forms  permissible  in 
divine  worship.  These  we  shall  discuss  later,  along 
with  other  translations  from  the  Hebrew.  Though 
there  were  many  original  English  hymns  before  his 
time,  the  first  great  hymnist  of  England  repre- 
sented in  our  Hymnal  was  Bishop  Thomas  Ken 
(1637-1711),  who  wrote  the  ^^Morning  Hymn"  (44), 

Evening  Hymn (49),  and  the  Doxology  (718), 
"Praise  God,  from  whom  all  blessings  flow,''  all 
of  which  appeared  first  in  his  '^Manual  of  Prayers 
for  the  Winchester  Scholars,''  1700.  The  good 
bishop,  arrested  with  six  other  bishops  by  James 
II,  and  later  under  William  of  Orange  harassed  by 
political  intrigue,  would  not  compromise  his  prin- 
ciples to  gain  political  preferment,  and  hence  was 
forced  into  retirement.  Of  him  Macaulay  said  in 
his  History  of  England":  "He  was  a  man  of 
parts  and  learning,  of  quick  sensibility  and  stainless 
virtue.  His  elaborate  works  have  long  been  for- 
gotten, but  his  morning  and  evening  hymns  are  still 


THE  HTMN-WKITEKS 


9Y 


repeated  daily  in  thousands  of  dwellings.''    In  his 
retirement  Bishop  Ken  wrote  these  lines: 

I  gladly  wars  ecclesiastic  fly, 
Whenever  contentious  spirits  I  descry: 
Eased  of  my  sacred  load,  I  live  content, 
In  hymns,  not  in  disputes,  my  passions  vent. 

Three  great  authors  of  his  century  are  represented 
in  the  Hymnal  by  three  great  hymns,  ^Teach  me,  my 
God  and  King''  (417),  by  George  Herbert  (1593-1632) ; 
^The  Lord  will  come  and  not  be  slow"  (642),  a  trans- 
lation by  John  Milton  (1608-74);  and  ''Lord,  it  be- 
longs not  to  my  care"  (470),  by  Richard  Baxter  (1615- 
91),  the  celebrated  author  of  ''Saints'  Rest." 

In  the  model  style  of  the  brilliant  Joseph  Addison 
(1672-1719)  we  have  three  hymns,  each  of  them 
from  his  famous  periodical,  "The  Spectator": 
"The  spacious  firmament  on  high"  (84),  being 
from  " Spectator "  No.  465,  1712;  "How  are  thy 
servants  blest,  0  Lord"  (102),  from  No.  489,  1712; 
and  "  When  all  thy  mercies,  0  my  God"  (105),  from 
No.  453, 1712. 

The  Preface  to  the  Methodist  Hymnal  announces 
that  it  contains,  besides  the  Wesley  hymns,  "the 
choicest  work  of  the  other  hymn-writers  of  the  eight- 
eenth century,  Doddridge,  Watts,  Cowper,  Newton, 
Montgomery."  The  first  of  these,  in  chronology,  in 
some  points  of  excellence,  and  in  the  number  of 
hymns  in  our  collection  (fifty-three,  next  to  Charles 
Wesley's  the  highest  number),  was  the  Rev.  Dr.  Isaac 
Watts  (1674-1748).  Born  in  a  nonconformist  family, 
in  severest  times  of  religious  persecution,  he  dis- 


98 


MUSIC  AND  HYMNODY 


plays  a  militant  dogmatism  on  the  side  of  Calvinism 
in  much  of  his  work.  But,  nevertheless,  his  devout 
and  earnest  thought,  cast  in  the  mold  of  scriptural 
phrase,  and  making  use  of  the  simplest  English  words, 
has  won  for  him  the  title,  ^The  Father  of  English 
Hymns/'  The  Watts  translations  from  the  Psalms 
are  mentioned  on  a  later  page.  His  hymn,  ''When 
I  survey  the  wondrous  cross''  (141),  was  styled  by 
Matthew  Arnold  ''the  greatest  hymn  in  the  English 
language."  Next  in  the  number  of  our  h5mins  (twen- 
ty-two) stands  the  Rev.  Dr,  Philip  Doddridge  (1702- 
51),  theologian  and  poet,  who  is  best  known  to  Meth- 
odists by  his  hymn,  "0  happy  day,  that  fixed  my 
choice."  Even  more  than  Watts  he  confined  his 
poems  to  scriptural  phrase.  For  twenty  years  he  was 
pastor  in  a  Northampton  nonconformist  church,  at 
the  same  time  writing  voluminously  and  teaching 
young  theologians  vigorously. 

The  Rev.  John  Newton  (1725-1807)  and  William 
Cowper  (1731-1800),  though  younger  than  the  Wes- 
leys,  lived  and  worked  as  their  contemporaries.  From 
the  former  we  have  thirteen  hymns,  from  the  latter 
ten.  Newton  was  converted  from  a  violent  life  of  sin 
while  at  sea,  and,  returning  to  England,  he  gave  his 
life  to  an  active  ministry,  keeping  in  touch  with  the 
Wesleys  and  their  work.  In  his  residence  at  Olney 
as  curate,  he  became  associated  with  Cowper  in  writ- 
ing "The  Olney  Hymns."  Cowper 's  life  had  been 
redeemed  from  a  life  of  despair  to 

A  season  of  clear  shining, 
To  cheer  it  after  rain, 


THE  HYMN-WEITEKS 


(to  use  his  own  phrase  in  hymn  454);  and,  though 
later  his  temperamental  morbidness  would  sometimes 
unbalance  his  mind,  he  sang  through  his  sorrow  the 
same  redemption  and  with  the  same  intensity  as  New- 
ton. Cowper's  ^There  is  a  fountain  filled  with  blood'' 
(291),  and  Newton's  ''Glorious  things  of  thee  are 
spoken"  (210),  have  long  been  great  favorites  in 
Methodist  worship. 

The  last  of  these  five  names,  James  Montgomery 
(1771-1854),  belongs  more  to  the  nineteenth  than  to 
the  eighteenth  century.  Nineteen  of  his  four  hundred 
hymns  are  in  our  collection.  A  Scotchman  so  radical 
in  his  politics  as  to  be  twice  cast  into  prison,  an  editor 
and  literary  critic,  he  will  long  be  remembered  for  his 
Christian  piety  and  its  beautiful  expression  in  such 
hymns  as  ^'Behold!  the  Christian  warrior  stands"  (397) 
''In  the  hour  of  trial"  (431),  or  "Prayer  is  the  soul's 
sincere  desire"  (497). 

The  greatest  of  all  English  hymn-writers  was  Charles 
Wesley,  greatest  in  the  prodigious  number  of  hymns 
that  he  wrote  (said  to  be  over  sixty-five  hundred  with- 
in fifty  years),  greatest  in  his  statement  of  doctrine  and 
the  earnestness  of  his  zeal,  and  greatest  in  his  high 
poetic  expression  of  an  intense  love  for  the  Saviour. 
His  hymns  in  the  Methodist  Hymnal  are  one  hundred 
and  twenty-nine,  or  about  one  sixth  of  the  book.  The 
eighteenth  child  in  the  Wesley  family,  he  came  near 
to  being  adopted  by  a  wealthy  Irish  gentleman.  But 
he  did  not  leave  his  family,  until  he  made  the  journey 
to  Georgia  with  his  brother,  John.  After  his  con- 
version and  a  brief  stay  in  Islington  as  curate,  he 


100  MUSIC  AND  HYMNODY 


joined  his  brother's  great  work  for  the  rest  of  his  life. 
Their  relaton  to  the  Church  of  England  caused  a 
difference  of  opinion  on  the  subject  between  the  two 
brothers ;  but  as  preachers  and  as  hymn-writers  both 
remained  loyal  and  tremendously  active  in  advancing 
the  cause  of  Methodism. 

The  Wesleys  were  the  most  remarkable  family  in 
the  annals  of  hymnology.  The  father  of  John  and 
Charles,  the  Rev.  Samuel  Wesley  (1662-1735),  an 
intensely  earnest  clergyman  of  the  Church  of  England, 
passed  through  a  series  of  hardships  both  in  providing 
for  his  large  family  from  a  meager  income  and  in  fac- 
ing the  bitter  opposition  of  his  fellow  townsmen  at 
Epworth,  that  would  have  overwhelmed  a  less  coura- 
geous man.  His  writings  in  prose  were  voluminous; 
and  of  his  poetry  we  still  preserve  in  our  Hymnal  his 
lines:  '^Behold  the  Saviour  of  mankind'^  (142).  His 
wife,  Susanna  Wesley,  through  the  remarkable  in- 
fluence of  her  piety  upon  her  children,  has  won  the 
title,  'The  Mother  of  Methodism.''  Four  of  their 
children  became  poets  of  a  high  order.  From  the 
Rev.  Samuel  Wesley,  the  younger,  and  his  sister, 
Mehetabel  Wesley,  we  possess  no  hymns  in  our  Hym- 
nal, though  many  hymns  from  the  former  are  now  in 
use  in  England,  while  from  the  sacred  poetry  of  the 
latter  many  verses  could  well  be  used  as  hymns. 

While  Charles  was  the  greatest  hymn-writer,  John 
Wesley  (1703-91)  was  in  other  respects  the  greater 
man;  for  through  his  marvelous  genius  for  organiza- 
tion, his  infinite  capacity  for  work,  and  his  ability  as 
a  preacher  he  exerted  the  greatest  influence  of  any 


THE  HYMN-WKITEKS 


101 


man  upon  his  generation  in  England.  And  withal  he 
excelled  as  a  hjmin-writer.  Over  thirty  translations 
he  made  from  the  German,  French,  and  Spanish, 
many  of  them  being  in  our  Hymnal.  Our  one  original 
hymn  from  his  pen  is  ^^How  happy  is  the  pilgrim's  lot'' 
(624),  the  rest,  save  for  a  quatrain  doxology,  being 
translations  or  alterations. 

An  important  commentary  upon  the  hymnodic 
inspirations  of  the  Wesleyan  movement  in  the  eight- 
eenth century  is  to  be  found  in  the  remarkable  list  of 
hymn-writers  in  the  Hymnal,  who  were  allied  with  the 
Wesleys  either  in  active  work  or  frequent  sympathetic 
communication.  The  Rev.  Robert  Seagrave  (1693- 
1764),  famous  for  ^^Rise,  my  soul,  and  stretch  thy 
wings''  (623),  a  clergyman  of  the  Established  Church, 
became  a  coworker  with  the  Wesleys.  The  two  Welsh- 
men, the  Rev.  William  Williams  (1717-91),  author  of 
'^Guide  me,  0  thou  great  Jehovah"  (91),  and  John 
Cennick  (1718-55),  author  of  three  hymns — one  of 
them,  ^^Lo!  He  comes,  with  clouds  descending"  (601), 
being  famed  as  the  English  ^^Dies  Irse" — were  both 
active  in  the  new  evangelism.  Cennick  was  a  lay 
preacher.  Their  Calvinism,  however,  later  led  them 
apart  from  the  Wesleys.  Likewise  the  Rev.  William 
Hammond  (1719-83),  at  first  a  Calvinistic  Methodist, 
finally  joined  the  Moravians.  The  Rev.  Thomas 
Olivers  (1725-99),  a  cobbler  converted  under  White- 
field,  became  a  great  Wesleyan  preacher,  and  wrote 
'The  God  of  Abraham  praise"  (4)  and  '^0  thou  God  of 
my  salvation"  (25).  The  familiar  ''All  hail  the  power 
of  Jesus'  name"  (180)  was  written  by  the  Rev.  Ed- 


102  MUSIC  AND  HYMNODY 


ward  Perronet  (1721?-1792),  who  for  eight  years  was 
intimately  associated  with  the  Wesleys.  The  Rev. 
Robert  Robinson  (1735-90),  author  of  ''Come,  thou 
Fount  of  every  blessing''  (19),  and  the  Rev.  John 
Fawcett  (1740-1817),  author  of  ''Blest  be  the  tie  that 
binds''  (556),  and  four  other  hymns  of  ours,  were  both 
converted  under  Whitefield's  preaching  and  became 
Methodists,  though  the  latter  afterward  served  a 
Baptist  church.  So  each  one  of  these  eight  sacred 
poets  drew  spiritual  inspiration  from  Methodism. 

The  author  of  "Rock  of  Ages"  (279),  the  Rev. 
Augustus  M.  Toplady  (1740-78),  really  belonged  to 
the  new  evangelistic  movement;  but  his  Calvinism 
kept  him  in  violent  controversy  with  John  Wesley. 
Before  he  was  thirty  years  old  he  had  received  an 
ecclesiastical  appointment  in  London,  but  his  frail 
body  and  emotional  temperament  could  not  with- 
stand the  overwork  and  the  onslaughts  of  the  disease 
that  conquered  him  within  ten  years. 

The  Rev.  Joseph  Hart  (1712-68),  who  wrote  "Come, 
ye  sinners"  (259),  and  three  more  of  our  hymns,  was 
a  Congregationalist.  The  Rev.  Benjamin  Beddome 
(1717-95),  the  Rev.  Samuel  Medley  (1738-99),  the 
Rev.  Dr.  Samuel  Stennett  (1727-95),  and  the  Rev. 
Benjamin  Francis  (1734-99),  each  represented  by 
three  or  four  of  our  hymns,  were  Baptists.  Stennett's 
grandfather,  the  Rev.  Joseph  Stennett  (1663-1713), 
wrote  our  hymn,  "Another  six  days'  work  is  done" 
(70). 

Sir  Robert  Grant  (1786-1838),  a  member  of  Parlia- 
ment and  later  governor  of  Bombay,  and  Reginald 


THE  HYMN-WEITEES 


103 


Heber  (1783-1826),  Bishop  of  Calcutta,  each  wrote  six 
of  our  hymns.  Both  were  hymnodists  of  the  first 
Uterary  rank,  both  were  deeply  devout,  both  died  in 
India.  Bishop  Heber,  the  more  missionary  of  the 
two  in  spirit,  is  best  known  to  us  by  the  hymn:  "From 
Greenland's  icy  mountains''  (655);  Sir  Robert  Grant 
by  "0  worship  the  King"  (106). 

The  influences  of  the  Oxford  Movement  in  the  early 
nineteenth  century  for  the  regeneration  of  the  Church 
of  England  have  left  a  permanent  impress  upon  Eng- 
lish hymns.  The  Rev.  John  Keble  (1792-1866), 
author  of  our  morning  and  evening  hymns — "New 
every  morning  is  the  love"  (42)  and  "Sun  of  my  soul" 
(47) — and  also  of  "Blest  are  the  pure  in  heart"(360) — 
preached  in  Oxford  the  famous  Assize  Sermon  in 
1833,  which  Cardinal  Newman  declared  to  be  the  first 
impetus  of  the  Oxford  Movement.  These  hymns  are 
taken  from  his  famous  poetical  work,  "The  Christian 
Year,"  1827  (the  last  of  these  three  hymns  being  a 
cento),  which  sounded  forth  strong  notes  of  warning 
to  the  languishing  army  of  the  Church. 

Cardinal  John  H.  Newman's  (1801-90)  "Lead, 
kindly  Light,  amid  th'  encircling  gloom,"  was  essen- 
tially a  product  and  an  expression  of  the  unrest  and 
consequent  gloom  of  this  period.  His  formal  entrance 
into  the  Church  of  Rome  in  1845  was  quickly  followed 
the  next  year  by  the  secession  of  Dr.  Frederick  Wil- 
liam Faber  (1815-63)  from  the  Church  of  England  to 
Rome.  Although  all  of  Faber's  hymns  were  written 
after  that  decision,  the  spirit  of  eleven  of  them  is  so 
broad  that  they  are  used  in  our  own  Methodist  Hym- 


104  MUSIC  AND  HYMNODY 


nal,  some  with  theological  alterations,  as  'Taith  of  our 
fathers''  (415),  others  without  change,  as  ^There's  a 
wideness  in  God's  mercy"  (98).  Matthew  Bridges 
(1800-93),  author  of  ''Rise,  glorious  Conqueror,  rise" 
(161),  and  ''Crown  him  with  many  crowns"  (179), 
also  left  the  Church  of  England  for  Roman  Catholi- 
cism. 

Of  the  older  clergymen,  contemporary  with  the 
leaders  of  the  Oxford  Movement,  though  less  active  in 
controversy,  were  the  Rev.  Henry  Francis  Lyte 
(1793-1847),  author  of  "Abide  with  me"  (50),  said  to 
be  the  greatest  hymn-writer  of  his  period;  the  Rev. 
William  H.  Bathurst  (1796-1877),  author  of  "0  for 
that  flame  of  living  fire"  (187),  each  of  whom  wrote 
three  of  our  hymns;  the  Rev.  Thomas  Kelley  (1769- 
1855),  whose  hymns  are  all  pecuUarly  majestic  in 
tone,  and  the  Rev.  Christopher  Wordsworth  (1807- 
85),  Bishop  of  Lincoln,  author  of  "0  day  of  rest  and 
gladness"  (68).  Each  of  the  last  two  wrote  six  of  our 
hymns. 

Of  the  younger  clergymen  of  this  period,  the  Rev. 
Dr.  Horatius  Bonar  (1808-89)  was  the  most  popular, 
having  written  twelve  of  our  hymns,  such  as  "I  lay 
my  sins  on  Jesus"  (488)  and  "I  heard  the  voice  of 
Jesus  say"  (304).  His  wife  wrote  our  h3min  No.  529. 
Dean  H.  H.  Milman  (1791-1868),  of  Saint  Paul's, 
wrote  "Ride  on,  ride  on  in  majesty"  (150),  Dean  Henry 
Alford  (1810-71),  of  Canterbury,  'Torward!  be  our 
watchword"  (384)  and  three  other  hymns  of  ours,  and 
Dean  Arthur  P.  Stanley  (1815-81),  of  Westminster, 
two  hjnims  and  one  translation  in  our  Hymnal. 


THE  HTMN-WKITEES 


105 


Among  our  six  hymns  from  Bishop  William  Walsham 
How  (1823-97)  the  most  popular  is  ^'0  Jesus,  thou 
art  standing''  (282),  while  many  pronounce  his  'Tor 
all  the  saints''  (430)  the  greatest  hymn  added  to  our 
collection  by  the  recent  revision.  The  Rev.  J.  S.  B. 
Monsell  (1811-75),  the  Rev.  Godfrey  Thring  (1823- 
1903),  the  Rev.  Dr.  Edward  H.  Bickersteth  (1825- 
),  author  of  'Teace,  perfect  peace"  (528),  the  Rev. 
John  Ellerton  (1826-93),  author  of  ' 'Saviour,  again  to 
thy  dear  name"  (38),  and  the  Rev.  Sabine  Baring- 
Gould  (1834-  ),  author  of  ''Onward,  Christian 
soldiers!"  (383)  should  all  be  added  to  the  list  ol 
successful  clerical  hymnists  of  this  period.  Three  oi 
four  hymns  from  each  of  them  are  in  our  Hymnal. 

Four  distinguished  knights  are  also  counted  among 
the  hymn-writers  of  the  nineteenth  century:  Sir 
Robert  Grant,  already  mentioned ;  Sir  John  Bowring, 
LL.D.  (1792-1872),  a  noted  Unitarian  scholar  and 
governmental  executive,  once  governor  of  Hong- 
kong, on  whose  tombstone  was  inscribed  the  first  line 
of  his  hymn,  "In  the  cross  of  Christ  I  glory"  (143): 
Sir  Edward  Denny  (1796-1889),  a  member  of  the 
Plymouth  Brethren;  and  the  Rev.  Sir  Henry  Williams 
Baker  (1821-77),  Vicar  of  Monkland. 

From  some  of  England's  greatest  poets  we  have 
chosen  two  or  more  hymns.  Sir  Walter  Scott's  (1771- 
1832)  "When  Israel,  of  the  Lord  beloved"  (95),  ba^ed 
on  the  one  hundred  and  fifth  psalm,  is  introduced  into 
his  novel,  "Ivanhoe,"  where  it  is  sung  by  Rebecca,  the 
Jewess,  at  the  close  of  the  day  on  which  her  trial  oc- 
curred; and  his  free  translation  of  "Dies  Irae,"  "The 


106  MUSIC  AND  HYMNODY 


day  of  wrath,  that  dreadful  day''  (603),  occurs  at  the 
close  of  ^The  Lay  of  the  Last  Minstrel,"  wherein  it 
is  sung  in  Melrose  Abbey.  Thomas  Moore's  (1779- 
1852)  ^'0  Thou  who  driest  the  mourner's  tear"  (522) 
and  ''Come,  ye  disconsolate"  (526)  are  a  part  of  his 
''Sacred  Songs,"  1816.  Alfred,  Lord  Tennyson  (1809- 
92),  has  given  to  our  hymnody  "Strong  Son  of  God,  im- 
mortal Love"  (139),  "Late,  late,  so  late!"  (743)  and 
"Sunset  and  evening  star"  (744);  and  Mrs.  EUzabeth 
Barrett  Browning  (1806-61),  "Since  without  Thee  we 
do  no  good"  (504)  and  "Of  all  the  thoughts  of  God 
that  are"  (541). 

American  hymnody  made  its  beginnings  in  the 
metrical  Psalms,  as  we  shall  see  in  later  paragraphs. 
Timothy  Dwight  (1752-1817),  one  of  the  most  cele- 
brated Psalm  versifiers,  also  wrote  several  original 
hymns.  Two  other  great  names  in  early  American 
psalmody,  Oliver  Holden  (1765-1844)  and  Thomas 
Hastings  (1784-1872),  are  celebrated  both  as  hymnists 
and  as  composers.  Altogether  there  are  nine  such 
names  in  our  Hymnal  listed  both  as  composers 
and  authors,  attached  to  the  music  or  words  of 
twenty-nine  of  our  hymns.  Besides  Holden  and 
Hastings  the  others  are  Sir  Henry  William  Baker, 
Frances  Ridley  Havergal,  Martin  Luther,  the  Rev. 
A.  H.  C.  Malan,  Georg  Neumark,  the  Rev.  John  H. 
Stockton,  and  Caleb  T.  Winchester.  Most  of  them 
were  also  editors  of  musical  collections.  In  only  four 
of  the  twenty-nine  hymns  is  the  composer  and  author 
the  same  person. 

Ei2;ht  names  great  in  the  annals  of  American  poetry 


THE  HYMN-WKITEKS 


107 


are  to  be  found  among  the  authors  of  our  hymns. 
WilUam  Cullen  Bryant  (1794-1878),author  of  "Thana- 
topsis/'  etc.,  wrote  four  hymns  of  the  present  H3nmial, 
just  half  the  number  in  the  1878  Methodist  Episcopal 
Hymnal,  for  which  he  wrote  especially  a  Temperance 
Hymn  now  omitted.  Nathaniel  Parker  Willis  (1807- 
67),  whose  poetry  attained  widespread  though  short- 
Hved  popularity  in  the  middle  of  the  last  century, 
wrote  hymn  No.  660;  and  his  brother,  Richard  Storrs 
Willis,  wrote  the  music  to  our  hymn,  ^Tt  came  upon 
the  midnight  clear''  (HO),  by  the  Unitarian  clergy- 
man, Dr.  Sears.  'There's  a  song  in  the  air"  (112)  is 
by  Dr.  Josiah  G.  Holland  (1819-81),  author  of  ^'Ka- 
trina,"  and  editor  of  Scribner's  Magazine.  The  two 
greatest  American  men  of  letters  among  our  hymn- 
writers  are  Oliver  Wendell  Holmes  (1809-94)  and 
John  G.  Whittier  (1806-92).  Dr.  Holmes's  ''Lord  of 
all  being"  (82)  and  "0  Love  divine,  that  stooped  to 
share"  (457)  both  appeared  in  his  famous  volume, 
"The  Professor  at  the  Breakfast  Table."  Mr.  Whit- 
tier's  seven  hymns  breathe  the  spirit  of  devout 
humility  so  characteristic  of  the  Quaker  poet,  a 
humility  evident  even  in  the  very  first  lines  of  the 
hymns:  "We  may  not  climb  the  heavenly  steeps" 
(128),  "It  may  not  be  our  lot  to  wield  "(398),  "I  bow 
my  forehead  in  the  dust"  (472),  "Dear  Lord  and 
Father  of  mankind.  Forgive  our  feverish  ways"  (543). 

Three  younger  famous  literary  men  have  each  given 
to  us  one  hymn:  John  Hay  (1838-1905),  Lincoln's 
private  secretary  and  President  McKinley's  Secretary 
of  State;  Sidney  Lanier  (1842-81),  the  poet  of  the 


108  MUSIC  AND  HYMNODT 


South,  whose  pathetic  music  sings  sadly  through  the 
lines,  ''Into  the  woods  my  Master  went''  (745) ;  and 
Richard  Watson  Gilder  (1844-1909),  editor  of  the 
Century  Magazine,  the  son  of  a  Methodist  minister. 

Two  American  clergymen,  whose  names  are  less 
known  in  other  forms  of  poetry,  have  come  to  be  re-* 
garded  as  the  greatest  American  hymn-writers:  the 
Rev.  Dr.  Ray  Palmer  (1808-87)  and  the  Rev.  Dr.  Sam- 
uel Francis  Smith  (1808-95).  Each  was  born  in  the 
year  1808,  and  each  is  represented  by  four  hymns  in 
our  Hymnal.  'The  morning  light  is  breaking''  (653) 
and  "My  country,  'tis  of  thee"  (702),  are  by  Dr. 
Smith,  and  "My  faith  looks  up  to  thee"  (334),  by  Dr. 
Palmer,  the  last  two  being  in  the  same  meter. 

The  Protestant  Episcopalian  Bishop  of  New  Jersey^ 
George  Washington  Doane  (1799-1859),  so  named 
because  he  was  born  the  same  year  when  died  the 
"Father  of  his  Country,"  wrote  three  of  our  hymns,  all 
of  them  well  known:  "Fling  out  the  banner"  (639), 
"Thou  art  the  Way"  (133),  "Softly  now  the  light  of 
day"  (53).    His  son,  William  Croswell  Doane  (1832- 

),  first  Bishop  of  Albany,  wrote  "Ancient  of  days" 
(76).  Just  as  the  English  hymnologist,  the  Rev.  Dr. 
John  Julian  (1834-  ),  editor  of  the  great  "Dictionary 
of  Hymnology,"  produced  one  of  our  best  hymns 
(15),  so  also  did  the  American  hymnologist,  the  Rev. 
Dr.  George  Duffield,  Jr.  (1818-88),  in  "Stand  up,  stand 
up  for  Jesus!"  (386).  Three  of  our  hymns  came  from 
the  Unitarian  clergyman,  the  Rev.  Samuel  Longfellow 
(1819-92),  who  was  a  brother  of  the  poet  Longfellow; 
one  hymn  each  from  the  Rev.  Dr.  Charles  F.  Deems 


iLi^ck  du^  ^  PemfcmX, 

Autograph  Copy  of  Dr.  William  F.  Warren's  Hymn, 
"I  Worship  Thee,  O  Holy  Ghost." 


THE  HYMN-WEITERS 


109 


(1819-93),  the  Rev.  Dr.  Maltbie  D.  Babcock  (1851- 
1901),  both  New  York  city  pastors;  the  Rev.  Dr. 
Henry  M.  Dexter  (1821-90),  editor  of  the  Congrega- 
tionaUst;  the  Rev.  Dr.  J.  E.  Rankin  (1828-1904), 
president  of  Howard  University,  Washington,  D.  C, 
who  wrote  '^God  be  with  you'';  the  Rev.  Dr.  J.  H. 
Gilmore  (1834-  ),  professor  in  Rochester  University, 
who  wrote  ''He  leadeth  me'';  Bishop  Phillips  Brooks 
(1835-93),  of  Boston;  the  Rev.  Dr.  Washington 
Gladden,  the  well-known  author;  and  the  Rev.  Dr. 
Melancthon  Woolsey  Stryker  (1851-  ),  president  of 
Hamilton  College. 

Of  the  Methodist  authors  still  living,  the  Rev.  Dr. 
William  Fairfield  Warren  (1833-  ),  dean  of  the 
School  of  Theology,  Boston  University,  brother  of 
Bishop  Warren,  and  also  Professor  Caleb  T.  Win- 
chester, of  Wesleyan  University,  each  wrote  one 
hymn.  The  Rev.  Dr.  Frank  Mason  North,  secretary 
of  the  New  York  City  Church  Extension  and  Mission- 
ary Society,  and  the  Rev.  Dr.  Benjamin  Copeland, 
pastor  of  the  Humboldt  Parkway  Church,  in  Buffalo, 
New  York,  each  wrote  two  hymns.  Dr.  North's 
beautiful  lines  were  inspired  by  the  crying  needs  of 
his  missionary  work  in  the  city  (423): 

Where  cross  the  crowded  ways  of  life, 
Where  sound  the  cries  of  race  and  clan, 

Above  the  noise  of  selfish  strife, 
We  hear  thy  voice,  O  Son  of  man! 

To  which  he  adds  in  the  fifth  verse  this  plaintive 
prayer: 

O  Master,  from  the  mountain  side, 
Make  haste  to  heal  these  hearts  of  pain, 


110  MUSIC  AND  HYMNODY 


Among  these  restless  throngs  abide, 
0  tread  the  city's  streets  again. 

H.  M.  Chalfont  has  already  calculated^  that  of  301 
authors  in  the  Methodist  Hymnal  about  one  half  are 
clergymen  and  over  one  sixth  are  women.  Fifty- 
three  women  have  written  eighty-seven  hymns.  Six- 
teen feminine  names  were  dropped  from  the  Methodist 
Episcopal  Hymnal,  and  nineteen  new  ones  added  to 
the  new  Hymnal.  While  woman's  work  as  a  com- 
poser is  relatively  insignificant,  comprising  less  than 
ten  of  our  hymn  tunes,  her  work  as  hymn-writer  often 
reaches  the  height  of  spiritual  sublimity. 

The  first  group  of  women  among  the  hymn-writers 
of  the  Methodist  Hymnal  consists  of  Mrs.  Anna  Letitia 
Barbauld  (1743-1825),  one  of  whose  two  hymns, 
'^Come,  said  Jesus'  sacred  voice''  (257),  is  a  Methodist 
favorite;  Miss  Harriet  Auber  (1773-1825),  a  native  of 
London  and  a  devout  member  of  the  Church  of  Eng- 
land, whose  missionary  hymn,  ^'Hasten,  Lord,  the 
glorious  time"  (637),  is  the  best  of  our  three  hymns 
from  her  pen;  ^^Mrs.  Vokes,"  regarded  by  some  as  a 
nom  de  plume,  author  of  ''Soon  may  the  last  glad  song 
arise"  (630);  and  the  greatest  woman  among  hymn- 
writers.  Miss  Charlotte  ElUott  (1789-1871),  author  of 
five  of  our  hymns,  among  them  being  ''My  God,  my 
Father,  while  I  stray"  (521,  736)  and  "Just  as  I  am" 
(272),  probably  the  most  powerful  soul-winning  hymn 
ever  penned. 

The  most  popular  hymn  by  a  woman  is  "Nearer,  my 
God,  to  thee"  (315),  by  Mrs.  Sarah  Flower  Adams 

1  "Women  in  the  New  Hymnal,"  Christian  Advocate,  1906,  p.  1541. 


THE  HYMN-WRITEES 


111 


(1805-48),  a  devout  Unitarian,  whose  father,  Benja- 
min Flower,  was  a  poUtical  prisoner  in  jail  for  writing 
a  defense  of  the  French  Revolution,  when  he  met  Miss 
Eliza  Gould,  who  afterward  married  him  and  became 
the  mother  of  Sarah  Flower  Adams.  With  her  hymn 
is  sometimes  compared  another  that  is  similar  in 
spirit  and  meter,  ^^More  love  to  thee,  0  Christ^'  (317), 
by  Mrs.  Elizabeth  Payson  Prentiss  (1818-78). 

Miss  Anna  Letitia  Waring  (1820-  ),  born  in  Wales, 
and  Adelaide  Ann  Procter  (1825-64),  each  composed 
three  of  our  hymns,  and  Mrs.  Cecil  Francis  Alexander 
(1823-95),  in  Ireland,  tw^o  of  our  hymns,  that  may  be 
classed  among  the  very  best.  They  are  all  intensely 
personal  in  tone.  The  first  personal  pronoun  is  used 
at  least  fourteen  times  in  each  of  these  hymns  by  Miss 
Waring,  but  always  linked  with  the  ideal  of  great 
humility.  The  same  thing  is  true  of  Miss  Procter's 
three  hymns,  all  of  which  are  prayers  for  divine  leader- 
ship, for  divine  blessing,  or  offering  thanl<:s. 

Miss  Frances  Ridley  Havergal  (1836-79),  to  whom 
reference  is  made  in  the  preceding  chapter,  wrote  eight 
of  our  Methodist  hymns,  more  than  any  other  woman. 
Of  Madame  Guyon,  Mrs.  Browning,  and  the  trans- 
lators. Miss  Jane  Borthwick  and  Miss  Catherine  Wink- 
worth,  we  have  spoken  elsewhere. 

In  our  own  land  Mrs.  Harriet  Beecher  Stowe  (1811- 
96),  author  of  ^^Uncle  Tom's  Cabin''  and  of  the  hymn 
^^Still,  still  wilh  Thee"  (43),  is  the  most  famous  woman 
in  the  Hymnal,  though  Mrs.  Frances  J.  Van  Alstyne 
(1820-  ),  known  as  ''Fanny  Crosby,"  the  blind 
poetess,  has  written  more  hymns  than  any  other 


112  MUSIC  AND  HYMNODY 


woman — over  five  thousand  in  all.  Among  Methodist 
women  should  be  named  Miss  Mary  Artemisia  Lath- 
bury  (1841-  ),  whose  Chautauqua  hymns  are  in  the 
Hymnal,  Mrs.  F.  K.  Stratton  (  ?  -1910),  and  Mrs. 
Caroline  Laura  Rice  (1819-1899),  wife  of  the  Rev.  Dr. 
William  Rice,  of  Springfield,  Massachusetts,  where  he 
was  City  Librarian  until  his  death  in  1897. 

The  Rev.  Paul  Weyand  has  shown  that  258  of  the 
717  hjnuns  of  the  Hymnal,  or  thirty-six  per  cent,  were 
written  by  ministers'  children,  sons  and  daughters.^ 
Of  these  it  may  be  observed  more  than  half  came  from 
the  zealous  occupants  of  the  Epworth  Rectory,  the 
Wesleys. 

The  Translations 
Religious  thought  has  coursed  through  many  differ- 
ent languages  since  the  Day  of  Pentecost,  and  while 
there  are  many  truths  of  Christianity  that  have  found 
their  noblest  expression  in  the  English  language,  there 
are  but  few  doctrines  that  have  not  been  at  least 
partially  enunciated  in  some  other  language.  This 
debt  of  ours  to  other  tongues  may  be  distinctly  traced 
in  our  hymnology;  and,  while  it  would  be  a  colossal, 
if  not  to  some  extent  impossible,  task  to  relate  each 
devotional  idea  in  our  hymns  to  its  original  source, 
it  is  by  no  means  impossible  or  uninteresting  to  seek 
out  the  original  hymns  written  in  some  other  language, 
from  which  many  of  the  hymns  we  now  use  have  been 
translated  into  English,  some  of  them  freely  and 
some  of  them  with  great  accuracy. 

1  "Ministers'  Children  as  Authors  in  the  New  Hymnal,"  Christian  Advo- 
cate (N.  Y.),  1906,  p.  721. 


THE  HYMN-WEITEKS 


113 


From  the  Danish  hymn  ^'Igjennem  Nat  og  Traeng- 
sel/^  by  the  eminent  poet  and  professor  of  the  Danish 
language  and  Uterature  at  the  Academy  of  Soro,  Zea- 
land, Denmark,  Bernhardt  S.  Ingemann,  has  come  our 
hymn  (567),  ^Through  the  night  of  doubt  and  sorrow/' 
translated  by  the  Rev.  Sabine  Baring-Gould. 

William  Cowper's  translation  from  the  French  of 
Madame  Guyon's  ^^Amour  que  mon  ame  est  contente^' 
has  produced  our  hymn  (518)  ^'My  Lord,  how  full  of 
sweet  content,  I  pass  my  years  of  banishment,'^  and 
recalls,  as  has  been  previously  stated,  her  persecution 
by  the  Church  of  Rome  because  of  the  faith  that  she 
held  so  dear.  Another  hymn  from  the  French  is 
Antoinette  Bourignon's  ^^Venez,  Jesus,  mon  salu- 
taire,''  which  John  Wesley  translated  into  our  hymn 
(379),  '^Come,  Saviour,  Jesus,  from  above.'' 

From  the  Hebrew  was  derived  the  hymn  (4)  ^The 
God  of  Abraham  praise,"  practically  a  translation  by 
Thomas  Ohvers  of  the  Hebrew  Yigdal,  or  Doxology, 
which  rehearses  in  metrical  form  the  thirteen  articles 
of  the  Hebrew  creed.  This  was  originally  compiled 
by  Daniel  ben  Judah,  a  mediaeval  writer,  although 
the  creed  itself  was  compiled  before  this  in  the  twelfth 
century  by  Moses  Maimonides.  The  story  is  repeated 
concerning  Thomas  Olivers,  a  miUtant  co-worker  of 
John  Wesley's,  that  he  was  first  inspired  to  write  this 
wonderful  English  version  by  hearing  the  Hebrew 
hymn  sung  in  a  London  synagogue  by  the  congrega- 
tion, led  by  Rabbi  Leoni,  to  the  tune  that  in  our 
Hymnal  bears  his  name.  The  twelve  verses,  taken 
from  Clivers's  long  poem,  that  made  hymns  1075, 


114  MTTSIO  AND  HYMNODY 


1076,  and  1077  in  the  Methodist  Episcopal  Hymnal, 
have  been  compressed  into  one  hymn  of  six  verses 
in  this  H3niinal.  The  debt  of  our  hymnology  to  the 
Hebrew  language  is  very  great  through  the  metrical 
translation  of  the  Scriptures.  Undoubtedly  some  of 
these  scriptural  hymns  were  made  from  the  King 
James  English  version  of  the  Bible,  though  surely 
some  give  evidence  of  having  come  directly  from 
the  original  Hebrew. 

One  of  the  earliest  and  most  famous  collections  of 
metrical  translations  of  the  Psalms  was  the  famous 
Sternhold  and  Hopkins  book,  pubhshed  in  London  in 
1562.  Sternhold,  in  a  sense  the  father  of  English 
psalmody,  had  died  thirteen  years  before,  but  his 
work  was  brought  to  a  certain  perfection  by  the  Oxo- 
nian poet,  John  Hopkins.  This  book  was  used  for  a 
hundred  and  thirty  years  until  the  Restoration. 
From  it  we  get  the  hymn  in  the  1878  Hymnal,  'The 
Lord  descended  from  above.^'  In  Scotland  the  psalm 
books  begin  with  the  1564  psalter,  which  was  later 
supplanted  by  other  books,  as  the  '^Royal  Psalter' '  in 
1630,  and  the  famous  '^Rous'  Version''  in  1643, 
amended  in  1650.  But  in  England  the  Sternhold  and 
Hopkins  book  was  not  supplanted  until  'The  New 
Version,"  1696,  by  two  Irishmen,  Nahum  Tate  (1652- 
1715)  and  the  Rev.  Nicholas  Brady  (1659-1726),  met 
with  widespread  and  lasting  favor.  As  late  as  1789 
this  book  was  adopted  by  the  Protestant  Episcopal 
Church  in  America.  From  this  collection  we  get  such 
well-known  hymns  as:  ^To  Father,  Son,  and  Holy 
Ghost,"  Doxology  (720),  "As  pants  the  hart  for  cool- 


THE  HYMJSr-WKITERS 


115 


ing  streams"  (316),  and  ^'0  Lord,  our  fathers  oft  have 
told"  (700). 

In  1707  Isaac  Watts,  in  whom  the  metrical  trans- 
lation of  the  Psalms  reached  its  highest  beauty,  pro- 
duced 'Imitations  of  the  Psalms  of  David  in  the 
language  of  the  New  Testament."  From  this  great 
work  have  come  many  of  the  fifty-three  hymns  from 
Watts's  pen  in  the  Methodist  Hymnal. 

In  America  the  first  psalm  book  printed  was  'The 
Bay  Psalm  Book,"  1636,  which  replaced  the  ''Ains- 
worth  Version"  from  Holland,  then  in  use.  In  1785 
Joel  Barlow  and  in  1800  Timothy  Dwight  made  im- 
portant American  revisions  of  the  metrical  psalms  of 
Isaac  Watts,  and  from  the  latter  we  have  ''I  love  thy 
kingdom.  Lord"  (208).  Timothy  Dwight  also  wrote, 
''While  life  prolongs  its  precious  light"  (254)  and 
''Shall  man,  0  God  of  light  and  life"  (596). 

While  two  centuries  ago  the  Church  regarded  as 
little  less  than  sacrilegious  the  singing  in  divine  wor- 
ship of  other  hymns  than  translations  from  the  Scrip- 
tures, to-day  the  popularity  of  original  hymns  is  fast 
crowding  the  ancient  metrical  psalm  out  of  our  hym- 
nals.  Three  fifths  of  the  metrical  psalms  in  the  old 
Methodist  Episcopal  Hymnal  are  not  in  the  new 
Hymnal.  Most  of  those  omitted  were  by  Watts, 
Wesley,  and  Montgomery,  about  equally  divided 
between  the  three.  Two  from  Milton,  one  from  Tate 
and  Brady,  and  one  from  Sternhold  were  among  the 
banished.  Of  those  metrical  psalms  retained  from 
the  old  in  the  new  Hymnal  by  far  the  largest  number 
are  by  Isaac  Watts,  which  argues  the  better  adapta- 


116  MUSIC  AND  HYMNODY 


bility  of  many  of  his  translations,  strong  in  thought 
and  simple  in  vocabulary,  to  our  modern  taste. 

Besides  the  Psalms,  many  other  translations  from 
the  Hebrew  Scriptures  appear  in  our  Hymnal,  while 
the  very  free  translations  and  hymns  largely  based  on 
certain  passages  greatly  outnumber  the  strict  trans- 
lations. Philip  Doddridge  scarcely  ever  wrote,  save 
in  following  closely  the  Scriptural  thought  and  phrase. 
Charles  Wesley  translated  into  hymns  the  language 
of  Isaiah,  Proverbs,  Ezekiel,  and  Micah;  and  Newton 
and  Cowper  also  verses  from  Isaiah. 

While  the  New  Testament  has  undoubtedly  exerted 
the  larger  influence  over  modern  hymnology,  there 
have  come  from  the  New  Testament  Greek  much 
fewer  translations  into  hymns  than  from  the  Old 
Testament  Hebrew.  Some  of  the  former  are  Watts 's 
^'Come,  let  us  join  our  cheerful  songs''  (24),  from  Rev. 
5.  11-13;  Newton's  ''May  the  grace  of  Christ,  our 
Saviour"  (40),  from  2  Cor.  13.  14;  and  Tate  and 
Brady's  ''While  shepherds  watched  their  flocks"  (115), 
from  Luke  2.  8-14. 

The  venerable  and  scholarly  Professor  Harmon,  of 
Dickinson  College,  used  to  delight  in  saying  to  his 
classes  that  if  the  angels  in  heaven  choose  some  one 
human  language  in  which  to  converse,  it  must  be 
good,  pure  Attic  Greek.  Be  that  as  it  may,  the  noble 
Greek  language  produced  for  the  Eastern  Church 
some  of  the  greatest  hymns  of  the  ages.  They  are 
marked  by  a  strong  simplicity  of  expression,  com- 
bined in  some  instances  with  the  most  exalted  devo- 
tion.   Our  hymn  (672)  "Shepherd  of  tender  youth" 


THE  HYMN-WKITERS 


117 


was  translated  by  the  Rev.  Dr.  H.  M.  Dexter,  a  New 
England  Congregational  clergyman,  from  the  earliest 
known  Christian  hymn:  "Irofuov  ttojXojv  dSaojv''  (liter- 
ally, ^^Bridle  of  steeds  untamed");  by  Saint  Clement  of 
Alexandria  (a.  d.  170-220). 

Most  of  our  Greek  hymns  are  a  part  of  that  body  of 
inspiring  translations  from  the  Greek  with  which  Dr. 
J.  M.  Neale  has  enriched  our  English  hymnody.  The 
authorship  of  the  Greek  original  of  '^Art  thou  weary" 
(293)  has  been  a  puzzling  question  for  critics.  Dr. 
Neale  at  first  attributed  it  to  Stephen,  the  Sabaite, 
nephew  of  Saint  John  of  Damascus,  though  hymnol- 
ogists  have  searched  in  vain  for  the  original.  Prob- 
ably the  clue  to  these  difficulties  is  revealed  in  Dr. 
Neale's  later  comment  that  there  was  so  little  Greek  in 
this  hymn  that  it  scarcely  deserves  to  be  classed  as  a 
translation.  Indeed,  while  Dr.  Neale's  other  trans- 
lations in  our  Hymnal  follow  the  original  much  more 
closely  than  does  this  hymn,  his  Greek  hymns  as  a 
class  have  been  regarded  more  as  adaptations  than 
translations.  Dr.  Neale's  other  Greek  translations 
in  the  Hymnal  are:  ^The  day  of  resurrection"  (164), 
from^'*AvaaTdaeG)g  TjfxeQa,^^  by  Saint  John  of  Damas- 
cus; ''Come,  ye  faithful,  raise  the  strain"  (163),  from 
^'"Aacjixev  Trdvreg  Xaoi,^^  also  by  Saint  John  of  Damas- 
cus; and  ''Christian!  dost  thou  see  them?"  (616),  from 
"Ov  ydp  pXeneig  rovg  raQdrrovraq,^^  by  Saint  Andrew, 
Archbishop  of  Crete  (660-732).  These  last  belong 
to  a  later  period  of  Greek  hymn-writing,  which  was 
distinguished  from  its  predecessors  by  a  marked 
difference  m  style, 


118  MUSIC  AND  HYMNODY 


Practically  all  of  the  hymns  of  the  Western  Church 
were  written  in  the  Latin,  in  which  has  been  preserved 
the  best  thought  of  the  Christian  faith  through  at  least 
the  first  fourteen  centuries.  The  choicest  of  the  Latin 
hymns  were  selected  with  great  editorial  care  and 
embodied  in  the  successive  Breviaries,  prepared  under 
Papal  supervision  to  standardize  the  various  forms 
of  worship  of  the  Roman  Catholic  Church.  These 
Breviaries  contain  not  only  the  hymns  but  also  the 
forms  and  ritual  of  the  various  offices  to  be  used  in 
the  services  of  the  Christian  year.  Julian  mentions 
nine  Breviaries:  the  Mozarabic  (or  Spanish),  the  Am- 
brosian,  the  Roman  (from  which  Caswell  largely 
selected  his  hymns  in  our  Hymnal),  the  Sarum  (in  use 
in  England  before  the  Reformation,  the  chief  source  of 
Neale's  translations),  the  York,  the  Aberdeen,  the 
Paris  (I.  Williams,  J.  Chandler,  and  J.  D.  Chambers 
being  the  chief  translators),  the  Hereford,  and  the 
Monastic  Breviaries.  Nearly  all  of  our  Methodist 
hymns  from  the  Latin  are  translations  from  original 
hymns  contained  in  one  or  more  of  these  Breviaries. 

Our  hymn  ^^AU  glory,  laud,  and  honor''  (31)  is  Dr. 
John  M.  Neale's  translation  of  '^Gloria,  Laus  et  Honor,'' 
by  Saint  Theodulph  of  Orleans.  Until  the  seven- 
teenth century  this  hymn  for  Palm  Sunday  retained  a 
quaint  verse,  of  which  the  following  is  a  translation: 

Be  thou,  0  Lord,  the  Rider, 

And  we  the  little  ass, 
That  to  God's  holy  city 

Together  we  may  pass. 

Dr.  Neale's  two  translations  from  the  famous  hymn 


THE  HYMN-WEITEES  119 


"Hora  Novissima/'  by  Bernard  of  Cliiny,  have  attained 
great  popularity.  ^'Jerusalem  the  golden'^  (612)  was 
taken  from  that  part  of  ^'Hora  Novissima'^  beginning 
'^Urbs  Syonaurea,  Patria  lactea;''  and  ^Tor  thee,  0 
dear,  dear  country''  (614),  from  the  part  beginning 
'^0  bona  patria,  lumina  sobria."  ^ ^Christ  is  made  the 
sure  Foimdation''  (662)  is  Dr.  Neale's  translation  of 
that  part  of  the  hymn  '^Angularis  Fundamentum'' 
beginning  ^^Urbs  beata  Hierusalem,''  the  original 
authorship  of  which  is  still  in  doubt. 

The  greatest  of  all  Latin  hymns,  '^Dies  Irse,'^  by 
Thomas  of  Celano,  has  inspired  two  of  our  hymns, 
'^Day  of  wrath,  O  dreadful  day''  (599),  by  Dean  Ar- 
thur P.  Stanley,  and  ^The  day  of  wrath,  that  dread- 
ful day"  (603),  by  Sir  Walter  Scott,  which  are  the  most 
popular  of  the  himdred  and  sixty  English  translations 
of  this  hymn  that  are  known.  Two  fifths  of  these 
translations  of  ^^Dies  Irae"  were  made  in  America; 
one  man,  A.  Coles,  wrote  twelve  of  them.  The  most 
recent  is  ^'Day  of  ire,  that  direful  day,"  from  '^Early 
Christian  Hymns,"  by  Judge  Daniel  J.  Donahoe. 
While  Dean  Stanley's  is  a  true  translation,  Sir  Walter 
Scott's  contains  so  much  that  is  original  in  tone  that  it 
is  regarded  practically  as  an  original  hymn. 

"Come,  Holy  Ghost,  in  love"  is  Dean  Stanley's 
translation  of  "Veni,  Sancte  Spiritus,"  the  authorship 
of  which  is  sometimes  attributed  to  King  Robert  II  of 
France,  although  over  this  question  hymnologists  are 
still  breaking  lances. 

"Creator,  Spirit!  by  whose  aid"  (194)  is  a  famous 
translation  by  the  poet  John  Dryden  from  "Veni, 


120  MUSIC  AND  HYMNODY 


Creator  Spiritus,  Nantes  tuorum  visita/'  which  tradi- 
tion vaguely  and  probably  incorrectly  attributes  to 
Charlemagne. 

The  most  tender  of  all  of  our  Latin  hymns  is  the 
''Jesu,  dulcis  memoria/'  by  Bernard  of  Clairvaux, 
which  has  inspired  three  of  our  present  hymns,  ''Jesus, 
the  very  thought  of  thee''  (533),  translated  by  Edward 
M.  Caswell,  and  ''Jesus,  thou  Joy  of  loving  hearts'' 
(536),  translated  by  Ray  Palmer;  the  third  (289) 
being  treated  upon  a  subsequent  page  among  the 
hymns  coming  from  the  Latin  through  the  German. 
The  first  of  these  two  direct  translations  is  widely 
used  by  English  Methodists ;  but  not  the  second.  In 
fact,  with  this  exception,  all  of  the  foregoing  Latin 
translations  have  long  been  in  use  in  the  Wesleyan 
Church.  Our  Wesleyan  brothers  across  the  sea  make 
use  of  Oakeley's  translation  of  "Adeste  fideles,  laeti 
triumphantes,"  while  we  use  Caswell's  translation,  "0 
come,  all  ye  faithful,  triumphantly  sing"  (125).  Over 
forty  English  translations  of  this  hymn  are  known. 
None  of  the  subsequent  Latin  translations  here  men- 
tioned are  in  the  new  Wesleyan  Methodist  Hymn 
Book. 

"Near  the  cross  was  Mary  weeping"  (154)^  was 
translated  by  J.  W.  Alexander  from  the  famous 
"Stabat  Mater  dolorosa,"  which  has  been  set  to  music 
by  many  famous  composers,  such  as  Palestrina,  Per- 
golesi,  Haydn,  Rossini,  and  Dvorak.  The  hymn  is 
usually  ascribed  to  Pope  Innocent  III  (1216)  on  some- 

1  "The  Latin  Hymns  of  the  Wesipyan  Methodist  Hymn  Book,"  by 
Frederic  W.  MacdOnald,  London,  1899. 


THE  HYMN-WRITEKS 


121 


what  dubious  evidence;  but  was  not  authorized  for 
public  use  until  1727  by  Pope  Benedict  XIII.  It  is 
part  of  a  larger  poem  in  three  divisions  for  use  re- 
spectively in  Vespers,  Matins,  and  Lauds;  and  of  the 
full  text  twenty-three  translations  are  mentioned  by 
Julian. 

Of  the  history  of  the  Latin  chants  in  the  Appendix 
to  the  Hymnal  we  shall  not  here  pause  to  speak, 
though  it  is  a  subject  full  of  interest  to  the  scholar  who 
wishes  fully  to  acquaint  himself  with  Roman  hym- 
nody. 

Our  beautiful  hymn  (483) : 

My  God,  I  love  thee,  not  because 
I  hope  for  heaven  thereby, 

is  E.  M.  Caswell's  translations  of  Saint  Francis 
Xavier's  ^'0  Deus,  ego  amo  Te;  Nec  amo  Te  ut 
salves  me.''  Many  believe  that  the  Latin  was  founded 
upon  Saint  Theresa's  Spanish  hymn,  '^No  me  mueve, 
mi  Dios,  para  quererte." 

This  flow  of  thought  through  several  languages  has 
produced  many  of  our  best  hymns.  Just  as  the  last 
mentioned  hymn  came  from  the  Spanish  through 
Latin  into  English,  so  many  of  our  hymns  have  come 
from  the  Latin  through  the  German,  and  a  few  of 
these  have  had  their  source  in  a  fourth  language 
higher  than  the  Latin,  as  the  Greek  or  the  Hebrew. 
The  original  '^Gloria  in  Excelsis,''  for  instance,  was 
first  uttered  (probably  in  the  Aramaic)  by  the  angels 
that  hovered  over  the  hills  of  Bethlehem  that  first 
Christmas  morning.    At  length  it  came  to  bo  written 


122  MUSIC  AND  HYMNODY 


by  the  apostle  in  the  Greek  Testament,  as  in  Luke  2. 
14.  This  passage  was  expanded  into  an  early  Greek 
hymn  of  many  verses,  from  which  came  the  famous 
Latin  version  by  Saint  Theodulph  (referred  to  above) . 
From  this  the  ^ ^Gloria  in  Excelsis^'  among  the  chants 
of  our  Hymnal  is  a  direct  translation  in  prose.  Nico- 
laus  Decius,  in  the  sixteenth  century,  translated  this 
into  German  from  the  Latin,  thus:  ^^Allein  Gott  in 
der  Hoh'  sei  Ehr^'  et  seq.  From  this  German  version 
Catherine  Winkworth  has  produced  our  hymn,  ^To 
God  on  high  be  thanks  and  praise'^  (93).  A  direct 
translation  from  the  Scriptures  of  this  first  Christmas 
hymn  is  heard  in  Handel's  ' 'Messiah,"  to  the  trium- 
phant music  of  the  chorus,  ''Glory  to  God  in  the  high- 
est.^' 

Likewise  Anthony  W.  Boehm,  at  the  beginning  of 
the  eighteenth  century,  made  a  German  translation  of 
''Jesu,  dulcis  memoria,''  which  was  the  basis  of  our 
well-known  hymn  ''Of  Him,  who  did  salvation  bring" 
(289).  Thus  also  came  our  lines  "0  sacred  Head,  now 
w^ounded"  (151),  translated  by  J.  W.  Alexander  from 
the  German  Haupt  voll  Blut  und  Wunden,"  which, 
in  turn,  Paul  Gerhardt  had  translated  from  the  Latin 
of  Bernard  of  Clairvaux,  "Salve  caput  crumentatum." 

The  most  famous  of  the  German  hymns  is  "Ein' 
feste  Burg,"  written  by  Luther,  who  also  composed  the 
melody  for  this  chorale.  This  was  sung  over  Luther's 
grave  at  the  Schloss-Kirche,  Wittenberg.  Our  trans- 
lation, "A  mighty  fortress  is  our  God"  (101),  by 
Frederick  H.  Hedge,  D.D.,  hardly  outranks  Thomas 
Carlyle's  ^'A  safe  stronghold  our  God  is  still/'  of  the 


THE  HYMN-WKITEES 


123 


Wesleyan  Methodist  Hymn  Book.  Sixty-three  trans- 
lations of  this  hymn  have  been  pubHshed.  Another 
translation  from  Luther  is  our  'Tlung  to  the  heedless 
winds/^  by  John  A.  Messenger. 

Nearly  all  of  the  principal  English  translators  of  the 
German  hymns  are  represented  in  our  Hymnal.  From 
our  standpoint  at  least,  John  Wesley  is  the  most 
important  of  them  all.  Of  the  nineteen  hymns  in  the 
Hymnal  attributed  to  John  Wesley,  fourteen  are 
translations  from  the  German.  Two  of  these  are 
from  the  German  hymns  of  Count  Zinzendorf,  the 
German  mystic,  Jesus,  thy  blood  and  righteousness' ' 
(148),  and  '^0  thou,  to  whose  all-searching  sight''  (359) , 
the  latter  a  free  translation  from  '^Seelen  Brautigam 
0  du  Gotteslamm."  John  Wesley  also  translated  the 
following:  ^'High  on  his  everlasting  throne"  (221),  a 
free  translation  of  Augustus  G.  Spagenberg's  ^^Der 
Konig  ruht,  und  shauet  doch";  '^Shall  I,  for  fear  of 
feeble  man"  (225),  from  John  J.  Winkler's  ^^Sollt  ich 
aus  Furcht  vor  Menschenkindern" ;  ''My  soul  before 
thee  prostrate  lies,"  from  the  Rev.  Dr.  Christian  F. 
Richter's  ''Hier  legt  mein  Sinn  sich  vor  dir  nieder"; 
''Now  I  have  found  the  ground  wherein"  (302),  from 
Johann  A.  Rothe's  "Ich  habe  nun  den  Grund  gefun- 
den";  "I  thank  thee,  uncreated  Sun"  (367),  from 
Johann  A.  SchefHer's  "Ich  will  dich  lieben,  meine 
Starke";  "Into  thy  gracious  hands  I  fall"  (305),  a  few 
verses  of  the  hymn  beginning,  "Jesus,  whose  glory's 
streaming  rays,"  from  Wolfgang  C.  Dessler's  "  Mein 
Jesu,  dein  die  Seraphinen." 

Three  of  Paul  Gerhardt's  hymns  were  translated  by 


124  MUSIC  AND  HYMNODY 


John  Wesley:  Jesus,  thy  boundless  love  to  me''  (333), 
from  ^^0  Jesu  Christ,  mein  schones  Licht'';  '^Commit 
thou  all  thy  griefs''  (435)  and  ^'Give  to  the  winds  thy 
fears"  (437),  both  from  ^'Befiehl  due  deine  wege." 
Gerhardt's  ^^0  du  allersiisste  Freude"  was  translated 
into  our  ^^Holy  Ghost,  dispel  our  sadness"  (192),  by 
John  C.  Jacobi,  assisted  by  the  alterations  of  Toplady. 
Wesley's  ''1  thirst,  thou  wounded  Lamb  of  God"  (335), 
was  translated  from  two  hymns,  Zinzendorf's  ^^Ach! 
mein  verwundter  Fiirste"  and  J.  Nitschmann's  ''Du 
blutiger  Versiihner."  The  complete  cento  included 
excerpts  also  from  other  hymns  by  Zinzendorf  and 
Anna  Nitschmann. 

From  Gerhard  Tersteegen's  ''Verborgne  Gottesliebe 
du"  John  Wesle)^  wrote  'Thou  hidden  love  of  God, 
whose  height"  (345);  and  from  his  "Gott  rufet  noch, 
sollt  ich  nicht  endlich  horen,"  Jane  Borthwick  wrote 
"God  calling  yet!  shall  I  not  hear?"  (252.)  She  also 
translated  B.  Schmolck's  "Mein  Jesu,  wie  du  wilst" 
into  our  exquisitely  beautiful  "My  Jesus,  as  thou 
wilt"  (524). 

Catherine  Winkworth's  translations  are  recognized 
as  among  the  most  beautiful  ever  made  into  English 
hjmms.  Without  deviating  far  from  the  German 
verbiage  she  preserves  the  strength  and  dignity  of  the 
original.  Her  seven  translations  in  our  Hymnal  are 
but  a  small,  though  very  choice,  portion  from  her  best 
work  in  this  field.  Her  hymn,  "Now  thank  we  all  our 
God,"  is  but  one  of  thirty  translations  by  various 
authors  from  Martin  Rinkart's  "Nun  danket  alle 
Gott."    Her  other  translations  are:  "Leave  God  to 


THE  HYMN-WEITEES 


125 


order  all  thy  ways''  (476),  from  Georg  Neumark's 
^'Wer  nur  den  lieben  Gott  lasst  walten'';  ''Whatever 
my  God  ordains  is  right''  (487),  from  Samuel  Rodi- 
gast's  ''Was  Gott  thut  das  ist  wohlgethan,  Es  bleibt 
gerecht  sein  Wille."  Two  of  her  translations  are 
from  Petrus  Herbert:  ''Now  God  be  with  us"  (58), 
from  his  "Die  nacht  is  kommen  darin  wir  ruhen 
sollen,"  and  "Faith  is  a  living  power  from  heaven" 
(286),  from  "Der  Glaub'  ist  ein  lebendige  kraft," 
which  is  a  part  of  a  larger  hymn.  Her  "  Fear  not, 
0  little  flock,  the  foe"  (445)  is  from  "Verzage  nicht 
du  Hauflein  klein,"  by  Jacob  Fabricus. 

Carl  J.  P.  Spitta's  "  0  selig  Haus,  wo  man  dich  auf 
genommen"  was  translated  by  Mrs.  Alexander  into 
"0  happy  home,  where  thou  art  loved  the  dearest" 
(671);  and  Richard  Massie  wrote  "I  know  no  life 
divided"  (467),  from  a  part  of  his  German  hymn, 
which  begins,  "0  Jesu,  meine  Sonne." 

Matthias  Claudius  wrote  "Im  Anfang  war's  auf 
Erden,"  which  Miss  Jane  Campbell  translated:  "We 
plow  the  fields  and  scatter"  (716).  The  first  line  of 
that  most  popular  of  all  German  Christmas  carols, 
''Stille  Nacht,"  in  our  Hynmal  is  "Silent  night!"  (123) 
though  in  many  other  hymnals  it  is  "Holy  night!" 
From  "Beim  friihen  Morgenlicht"  Caswell  wrote 
"When  morning  gilds  the  skies"  (32);  from  "Schon- 
ster  Herr  Jesu"  came  "Fairest  Lord  Jesus"  (118). 

Nor  does  the  relation  of  our  h3mins  to  foreign  lan- 
guages end  with  the  catalogue  we  have  just  recited. 
Many  of  these  hymns  have  been  translated  from  the 
Greek  and  Latin  and  German  into  other  foreign  Ian- 


126  MUSIC  AND  HYMNODY 


guages.  Nearly  all  of  Count  Zinzendorf best  hymns, 
for  instance,  along  with  many  other  Moravian  hymns, 
have  been  translated  from  the  original  German  into 
Danish,  Dutch,  French,  Swedish,  Esthonian,  Letonian, 
Wendish,  and  several  other  languages,  besides  the 
English. 

But,  what  is  of  more  interest  to  us,  some  of  the  best 
hymns  originally  framed  in  English  have  been  trans- 
lated into  other  tongues.  ^Take  my  life,  and  let  it  be'' 
has  been  translated  into  French,  German,  Swedish, 
Russian,  and  several  other  languages  of  Europe  and 
even  of  Africa.  Its  expression  of  humility  has  spared 
it  from  suffering  the  fate  of  the  Russian  translation  of 
the  gospel  hymn,  ^^Hold  the  fort,  for  I  am  coming,'' 
which  was  officially  censored  by  the  government  of 
Russia  as  being  too  revolutionary  in  sentiment.  A 
study  of  many  mission  hymnals,  that  we  have  ex- 
amined, proves  to  us  that  we  dare  not  attempt  to 
sketch  the  linguistic  fortunes  of  even  one  of  the  many 
international  hymns,  some  of  them  passing  into  hun- 
dreds of  alien  languages  and  dialects  on  their  errand 
of  singing  their  great  truths  to  the  hearts  of  "every 
kindred,  every  tribe  on  this  terrestrial  ball." 

As  a  class  the  most  scholarly  translations  from  the 
English  have  been  those  turned  into  Latin.  For  in- 
stance, several  Latin  translations  have  been  made  of 
the  hymn,  "The  church's  one  foundation"  (207),  the 
best  being  "Nobis  unum  est  fundamen,"  by  the  Rev. 
E.  Marshall,  1882,  and  "Qui  Ecclesiam  instauravit," 
by  T.  G.  Godfrey-Faussett,  1878.  This  hymn  has 
been  translated  into  all  the  dominant  modern  Ian- 


THE  HYMN-WEITERS 


127 


guages.  The  Latin  version  of  ^The  King  of  love  my 
Shepherd  is''  (136)  that  is  best  known  is  ^^Rex  amoris, 
ut  pastoris'';  and  of  '^When  gathering  clouds"  (134), 
R.  Bingham's  ^'Quum  circumcirca  glomerantia  nubilia 
cornam,"  wherein  the  sound  of  the  Latin  words  seems 
to  fit  the  rolling  and  rumbling  of  the  clouds  much 
better  than  the  original  English.  The  Rev.  C.  B. 
Pearson's  translation  of  our  hymn,  "  0  come,  and 
mourn  with  me  awhile"  (152)  begins  with  the  line, 
'^Adeste  fideles,  mecum  complorantes" — a  startling 
contrast  to  the  well-known  ^^Adeste  fideles,  laeti 
triumphantes."  Mr.  Gladstone  was  fond  of  render- 
ing into  Latin  as  well  as  into  Greek  some  of  our  best 
hymns.  Our  Rock  of  Ages"  he  made  into  ^'Jesu, 
pro  me  perforatus,"  and  our  hymn,  ^^Art  thou  weary" 
(293),  he  began  with  the  line,  ''Scis,  te  lassum?  scis 
languentam? "  Macgill's  translation  of  the  same 
hymn  begins,  "Sisne  lassus  serumnosus?" 

The  titles  of  the  hymns  are  truly  a  part  of  the 
story  of  the  hymns,  though  our  interest  in  them  is  not 
so  great  as  in  the  tune  titles,  since  the  former  are  not 
given  in  the  Methodist  Hymnal  as  they  were  in  the 
Hymnal  of  1878.  Even  in  the  older  Hymnal  it  was 
the  exception  to  find  the  same  title  to  a  hymn  under 
which  it  originally  appeared.  The  reason  for  this 
lies  partly  in  the  fact  that  some  of  the  old  titles  were 
very  long  and  unwieldy,  partly  in  the  taste  of  succes- 
sive editors.  For  instance,  originally  our  hymn 
^'Author  of  faith"  (298)  was  entitled,  "The  Life  of 
Faith,  Exemplified  in  the  Eleventh  Chapter  of  St. 


128  MUSIC  AND  HYMNODY 


PauFs  Epistle  to  the  Hebrews'';  while  ''Make  haste, 
0  man,  to  Hve''  (390)  was  entitled  ''Live.''  Both 
titles  were  altered  for  the  reason  just  cited.  Another 
long  title  is,  "God's  gracious  approbation  of  a  re- 
ligious care  of  our  families"  (670), 

The  occasional  caprice  that  has  determined  tune 
titles  is  not  evident  in  the  hymn  titles.  The  great 
majority  of  hymns  derive  their  titles,  like  other  poems, 
from  the  thought  of  the  words.  Some,  however,  in 
their  title  declare  the  occasion  of  their  inspiration,  as 
"For  the  Anniversary  Day  of  One's  Conversion"  (1), 
"Written  before  Preaching  at  Portland"  (241),  "An 
Apology  for  my  Twilight  Rambles  Addressed  to  a 
Lady"  (498),  "After  Preaching  to  the  Newcastle 
Colliers"  (643),  the  stories  of  which  have  already  been 
told  in  a  previous  chapter.  The  following  original 
titles  speak  for  themselves:  "Comfort  in  God  under 
the  Removal  of  Ministers  or  other  Useful  Persons  by 
Death"  (592),  "For  the  Dedication  of  an  Organ,  or  for 
a  Meeting  of  Choirs"  (27),  "A  Liturgy  for  Missionary 
Meetings"  (60),  "The  Holy  Catholic  Church:  the 
Communion  of  Saints"  (207),  written  by  a  Catholic  on 
the  Ninth  Article  of  the  Creed.  Toplady's  title  to  our 
hymn  "Rock  of  Ages"  (279),  "A  living  and  dying 
Prayer  for  the  Holiest  Believer  in  the  World,"  was 
evidently  intended  for  an  answer  to  the  doctrine  that 
Christian  perfection  is  attainable  before  death. 


CHAPTER  VI 


THE  THEOLOGY  OF  THE  HYMNS 

Hymns  as  Teachers — False  Doctrines  to  be  Avoided— 
Our  Hymnody  a  Restatement  of  Creed 

Hymns  are  eloquent  teachers  of  doctrine.  Some 
hymnologists  have  carelessly  stated  that  true  hymns 
should  not  teach  theology.  The  statement  needs 
qualifying.  Art  best  achieves  her  purposes  when  she 
least  appears  to  be  consciously  striving  for  them. 
Likewise  hymns  are  often  the  most  effective  teachers 
when  they  least  seem  to  be  didactic.  The  hymn- 
writer  must  assume  the  tone  of  prophet  rather  than 
logician,  for  syllogisms  cannot  be  woven  into  the 
fabric  of  a  hymn.  Some  of  Isaac  Watts's  favorite 
hymns  have  been  strangled  by  over-dogmatism. 
Nevertheless,  the  body  of  our  hymns  contains  all  of 
the  fundamental  thought  on  which  our  religious 
system  is  built ;  and  there  is  not  an  essential  doctrine 
of  our  faith  that  cannot  be  found  in  the  Hymnal. 

The  influence  of  hymns  as  teachers  of  theology  to 
the  people  can  hardly  be  overestimated.  Their  very 
form  is  adapted  to  easy  memorization.  Clothed  in 
language  concise  and  chaste,  swaying  to  the  motion  of 
rhythm,  and  rounded  with  rhyme,  these  poetical 
phrases  that  bear  the  great  spiritual  truths  of  the 
Church,  when  repeatedly  sung  to  inspiring  music, 
firmly  fasten  themselves  upon  the  memories  of  the 
people. 

129 


130  MtTSIO  AND  HYMNODY 


William  T.  Stead,  in  his  "  Hymns  that  Have 
Helped/'  bears  witness  to  the  power  of  a  hymn  once 
deeply  lodged  in  his  memory:  '^It  is  Newton's  hymn, 
which  begins,  ^Begone,  unbelief.'  I  can  remember  my 
mother  singing  it  when  I  was  a  tiny  boy,  barely  able  to 
see  over  the  book-ledge  in  the  minister's  pew;  and  to 
this  day,  whenever  I  am  in  doleful  dumps,  and  the 
stars  in  their  courses  appear  to  be  fighting  against  me, 
that  one  doggerel  verse  comes  back  clear  as  a  black- 
bird's note  through  the  morning  mist."  An  early 
American  rhymed  Psalter  contains  a  quaint  defense  of 
the  custom  of  setting  the  psalms  to  verse  by  insisting 
that  verse  is  of  lighter  weight  than  the  same  bulk  of 
prose,  and  therefore  men  find  it  easier  to  carry  in  their 
memories  than  prose. 

Furthermore,  the  hymn  and  its  melody  from  their 
very  nature  tend  to  be  more  often  repeated,  not  only 
in  church  worship  but  also  in  the  home  circle  and  in 
private  devotion,  than  is  the  formal  statement  of 
belief,  or  the  exposition  of  theology  from  the  pulpit. 
Our  favorite  hymns  thus  become  a  part  of  ourselves, 
and  thereby  give  expression  to  principles  which,  from 
our  inner  experience  and  study  of  the  Word,  we 
recognize  to  be  true,  although  often  without  having 
previously  defined  them  clearly  in  our  thought. 

Martin  Luther  recognized  this;  and  under  his 
leadership  hjonn-singing  attained  its  first  widespread 
popularity  among  the  people.  With  all  Germany 
singing  the  hymns  of  justification  by  faith  to  the 
stately  German  chorales,  the  protest  against  the 
doctrines  as  well  as  the  pernicious  practices  of  Rome 


THE  THEOLOGY  OF  THE  HYMNS  131 


was  given  a  mighty  impetus.  Luther  confessed  that 
he  won  more  converts  by  the  use  of  hymns  than  by 
preaching.  Likewise  the  Wesleyan  Revival  made 
effective  use  of  the  hymns  of  personal  religious  ex- 
perience, emphasizing  the  witness  of  the  Spirit  and  the 
joyful  assurance  of  acceptance.  To  those  who  see  the 
work  of  a  Divine  Providence  through  all  the  advances 
of  history  it  appears  to  have  been  no  accident  that 
both  Luther  and  the  Wesleys,  especially  Charles,  were 
yoets  and  musicians.  Other  men  had  recognized,  and 
even  preached,  the  same  truths  upon  which  the 
Reformation  and  the  Wesleyan  Revival  were  founded; 
but  Luther  and  the  Wesleys  were  given  not  only 
the  power  to  preach  and  to  organize  the  spread  of 
these  essential  truths,  but  also  the  ability  to  express 
them  in  poetry  and  music. 

In  the  selection  of  hymns  there  are  two  distinct 
tendencies  that  mark  the  work  of  the  Hymnal  Com- 
mission; firstly,  the  exclusion  of  hymns  that  are  non- 
Methodistic  in  doctrine,  and,  secondly,  the  decrease 
in  the  proportion  of  credal  hymns. 

As  to  the  first  of  these,  let  us  inquire  what  are  the 
non-Methodistic  doctrines  which  find  expression  in 
hymn  form.  Professor  Warren,  in  classifying  the 
theology  of  Methodism,  admits  of  only  four  great  dis- 
tinct and  complete  Christo-theological  systems,  all 
others  being  incomplete  or  self-inconsistent.^  They 
are  the  Roman,  the  Calvinistic,  the  Lutheran,  and  the 
Wesleyan.    Their  differences  are  based  upon  ^'the 

1  €Jf.  "Systematische  Theologie/'einheitlich  behandelt,  von  Wm.  F. 
Warren,  Bremen,  1865,  and  ^'Centenary  of  American  Methodism," 
by  Abel  Stevens,  D.D.,  New  York,  1865. 


132  MUSIC  AND  HTMNODY 


soteriological  relations  between  God  and  man,  as 
established  by  Christ.'' 

The  Romanists  teach  the  salvation  of  a  soul  through 
the  priestly  power  and  the  works  of  the  Papal  Church, 
introducing  essentially  pagan  elements  into  their 
worship.  Their  faith  has  found  noble  expression  in  a 
wonderful  body  of  hymns,  most  of  them  in  the  Latin. 
Their  doctrinal  hymns  have,  of  course,  not  been 
admitted  to  any  Protestant  hymnal  in  their  original 
form;  but  it  is  interesting  to  note  that  one  of  the  most 
stirring  war  songs  of  modern  Protestantism  was 
written  by  a  Roman  Catholic  poet.  Dr.  Faber,  and  is 
still  sung  by  Romanists  in  its  original  form: 

Faith  of  our  fathers!  Hving  still 

In  spite  of  dungeon,  fire,  and  sword. 

Oh!  Ireland's  heart  beats  high  with  joy, 
Whene'er  they  hear  that  glorious  word. 

The  third  verse  begins  thus : 

Faith  of  our  fathers!    Mary's  prayers 
Shall  keep  our  country  fast  to  thee! 

Calvinism  teaches  the  salvation  of  a  soul  only 
through  foreordination,  or  the  free  action  of  God, 
decreed  before  the  foundation  of  the  world.  Against 
this  dogma  and  its  corollaries  the  early  Methodist 
preaching  hurled  its  most  effective  polemics.  Ac- 
cordingly, the  Commission  found  itself  under  especial 
obligation  to  avoid  those  hymns  which  suggested  the 
irresistible  decrees  of  God,  electing  the  souls  of  men  to 
future  life  or  future  punishment  without  relation  to 
character,  and  to  admit  in  their  stead  those  hymns 


THE  THEOLOGY  OF  THE  HYMNS  133 


which  clearly  teach  the  salvabiUty  of  all  souls  accept- 
ing the  salvation  freely  offered  to  all. 

As  a  distinct  reaction  against  the  tenets  of  Calvin- 
ism have  developed  the  doctrines  of  Universalism, 
teaching  that  all  souls  are  to  be  ultimately  saved ;  and 
of  Unitarianism,  which  has  added  to  this  the  denial  of 
the  triune  nature  of  God,  and  the  consequent^^ivine 
nature  of  Christ,  as  the  only  begotten  ^en^of  the 
Father.  The  atonement  conditional  only  upon  its 
acceptance,  and  other  doctrines  dear  to  Methodists, 
were  thus  denied.  In  their  anxiety  to  escape  any 
suggestion  of  Unitarianism,  the  Commission  took 
slight  offense  at  the  phrase  addressing  the  Deity  as 
'^Eternal  SouF^  in  Richard  Watson  Gilder's  hymn  (14), 
and  Mr.  Gilder,  by  vote  of  the  Commission,  was  re- 
quested to  change  that  phrase,  which  he  naturally 
refused  to  do. 

The  exclusion  of  Calvinistic  and  Unitarian  doctrines 
from  the  Hymnal  has  not  fostered  any  prejudice 
against  sacred  poets  of  these  faiths,  as  is  attested  by 
the  great  popularity  throughout  Methodism  of  the 
hymns,  "In  the  cross  of  Christ  I  glory,''  by  Sir  John 
Bowring,  and  ^'Nearer,  my  God,  to  thee,"  by  Sarah 
Flower  Adams,  both  Unitarians,  and  also  "Rock  of 
Ages,"  by  Augustus  M.  Toplady,  the  Calvinistic 
clergyman,  who  conducted  such  a  bitter  controversy 
with  John  Wesley. 

Lutheran  theology  has  made  the  salvation  of  the 
world  largely  dependent  upon  the  proper  use  of  the 
means  of  grace,  the  Word,  and  the  sacraments,  thus 
overemphasizing  the  forms  of  the  Church  and  their 


134  MUSIC  AND  HYMNODY 


efficacy.  Methodism  has  not  been  obHged  to  combat 
Lutheran  doctrine  so  vigorously  as  Romanism  and 
Calvinism,  partly  because  the  latter  two  systems  have 
presented  a  greater  contrast  to  the  Wesleyan  system 
than  the  former,  and  partly  because  Methodism  and 
Lutheranism  have  not  thrived  so  largely  upon  the 
same  soil.  Nevertheless,  Methodist  hymnology  neces- 
sarily cannot  teach  the  sufficiency  of  the  means  of 
grace  in  themselves,  but  instead  must  present  the 
Church  as  a  militant  body  of  worshipers  and  witnesses, 
the  Word  as  a  shining  light  illumining  divine  truth 
(a  figure  employed  in  almost  every  hymn  classed 
under  ^The  Holy  Scriptures' 0;  and  the  sacraments  as 
a  means  of  expressing  and  stimulating  Christian  faith. 
Neither  attendance  upon  the  church  and  its  sacra- 
ments nor  the  reading  of  the  Word  in  itself  insures 
salvation.    Our  hymn  (330) 

My  hope  is  built  on  nothing  less 
Than  Jesus'  blood  and  righteousness, 

rebels  against  this  teaching  of  salvation  through  the 
means  of  grace. 

In  contrast  to  Romanism,  Calvinism,  and  Lutheran- 
ism, the  doctrine  of  Methodism,  and,  consequently,  its 
hymnody,  has  taught  that  the  salvation  of  a  soul 
depends  on  ^^his  own  free  action  in  respect  to  the 
enlightenment,  renewing,  and  sanctifying  inworkings 
of  the  Holy  Spirit.'^  The  phrase,  Wesleyan  doctrine, 
is  not  to  be  taken  as  including  all  of  the  beliefs  held  by 
the  greatest  Methodist  hymn-writer,  Charles  Wesley; 
for  there  are  a  few  points  wherein  he  differed  from 


THE  THEOLOGY  OF  THE  HYMNS  135 


his  contemporaries  and  successors.  Many  of  Charles 
Wesley's  hymns  were  excluded  from  the  Hymnal 
which  would  have  commended  themselves  to  the 
Church  but  for  their  undue  emphasis  of  the  ^^second 
blessing/'  The  Commission  was  exceedingly  cautious 
in  admitting  hymns  upon  sanctification  that  they 
might  be  thoroughly  sound  and  orthodox.  As  a  foil 
to  rampailt  fanaticism  on  this  subject,  some  of  the 
Southern  members  of  the  Commission  urged  the 
omission  from  the  Contents  of  the  separate  classifica- 
tion, ''Entire  Consecration  and  Perfect  Love.''  But, 
since  sanctification  is  clearly  a  sound  Wesleyan 
doctrine,  the  Commission  at  length  was  content  to 
admit  twenty-eight  hymns  to  this  section,  in  which 
the  Methodist  Episcopal  Church  in  the  preceding 
Hjonnal  had  used  seventy,  and  the  Methodist 
Episcopal  Church,  South,  forty-five.  Most  of  these 
twenty-eight  express  a  yearning,  a  hope,  a  prayer  for 
sanctification.  Eighteen  were  written  by  Charles 
Wesley  and  three  are  translations  by  John  Wesley. 
So  modified  is  the  expression  of  this  doctrine  under 
''  Entire  Consecration  and  Perfect  Love,"  that  this 
section  raises  the  question  as  to  the  proper  classifi- 
cation of  some  of  the  hymns.  Nevertheless,  our 
hymns  have  not  slighted  the  orthodox  doctrine 
of  the  Holy  Spirit,  as  an  illuminating,  sin-dis- 
pelling, soul-warming  influence,  the  Third  Person  of 
the  Godhead. 

Some  hymns  were  brought  to  the  attention  of  the 
Commission  but  not  admitted  to  the  Hymnal  because 
of  their  teaching  as  to  the  second  coming  of  Christ. 


136 


MUSIC  AND  HYMNODY 


WTiile  Charles  Wesley  has  hinted  at  this  in  his  hymns, 
Methodism  holds  the  belief  that  the  Gospel  through 
the  Holy  Spirit  will  conquer  the  world  without  the 
reincarnation  of  Christ.  The  Seventh-Day  Advent- 
ists  have  transformed  our  Christmas  Hymn  into  a 
hymn  upon  the  second  coming  of  Christ  by  singing  it 
thus: 

Joy  to  the  world!  the  Lord  will  come, 
Let  earth  receive  her  King/' 

Likewise  other  classes  of  hymns  were  avoided,  not 
so  much  because  they  involved  questionable  doctrine 
as  because  they  offended  delicacy,  or  genuine  spon- 
taneous spiritual  emotion,  or  sincerity  of  thought. 
The  sentimental  hymn  is  excluded  from  the  Hymnal 
and  left  for  what  the  Preface  styles  as  ^^those  un- 
authorized publications  that  often  teach  what  organ- 
ized Methodism  does  not  hold.'^  Again,  the  hymns 
in  the  ancient  style  of  dwelling  upon  the  physical 
tortures  of  the  lost  are  fortunately  no  longer  in  use, 
such  as: 

Eternal  plagues  and  heavy  chains, 
Tormenting  racks  and  fiery  coals, 

And  darts  t'  inflict  immortal  pains, 
Dipt  in  the  blood  of  damned  souls. 

The  overascetic  tone  of  some  of  the  older  hymns  has 
not  been  regarded  as  being  in  accord  with  the  full, 
rich  Hfe  which  should  belong  to  an  active  Christian. 
Hence  Methodism  sings  no  more  the  doleful  verses 
beginning,  ^'How  vain  are  all  things  here  below!'' 
which  Isaac  Watts  wrote  in  a  fit  of  despondency,  in- 
duced by  a  young  woman's  refusal  of  his  offer  of 


THE  THEOLOGY  OF  THE  HYMNS  137 


marriage.    John  Newton's  ^'Let  worldly  minds  the 

world  pursue"  is  another  of  the  many  hymns  dropped 

from  the  preceding  Hymnals  for  this  reason.    Nor  do 

American  Methodists  longer  sing  as  of  yore  Charles 

Wesley's  lines: 

xT^ot^such  mercy  hast  bestowed 
Qn^jne,  the  vilest  reptile,  me. 

Modern  taste  revolts  at  the  idea  of  a  snake-like 
humanity. 

Literal  references  to  the  substitutional  elements 
have  been  avoided,  which  make  too  prominent  the 
physical  side  of  Christ's  death  at  the  expense  of  the 
deeper  significance  of  his  sacrifice.  These  were  the 
chief  doctrinal  tests  by  which  hymns  were  excluded, 
besides  the  literary  deficiencies,  which,  as  will  be 
shown  in  the  next  chapter,  caused  the  veto  of  most  of 
the  excluded  hymns. 

The  second  tendency,  distinctly  traceable  in  the 
work  of  the  Hymnal  Commission,  is  the  decrease  in  the 
relative  number  of  credal  hymns  and  the  increase  in 
the  proportion  of  the  hymns  of  practical  religious  life. 
Indeed,  the  whole  trend  of  modern  hymn-writing  is 
away  from  the  ultra-dogmatism,  exemplified  by  Isaac 
Watts,  and  toward  the  expression  of  worship,  devo- 
tion, and  the  joys  of  personal  experience.  Christian 
activity  has  been  emphasized  more  than  Christian 
behef. 

While  on  the  negative  side  we  have  thus  noted  the 
banishment  of  non-Methodistic  doctrine  and,  indeed, 
a  decided  decrease  in  the  body  of  distinctly  doctrinal 
hjanns,  there  is  upon  the  positive  side  a  statement  of 


138  MUSIC  AND  HYMNODY 


practically  all  of  the  essential  Wesleyan  doctrines  in 
our  canons  of  sacred  poetry.  In  her  early  days,  when 
bitter  controversy  was  rife,  Methodism  was  obliged  to 
stoutly  defend  the  theological  tenets  of  John  Wesley 
and  his  fellow-preachers  against  the  contentions  of  op- 
posing doctrines.  While  the  rationale  of  the  Wesleyan 
theological  system  has  not  altered  since  it  was  uttered 
by  John  Wesley,  the  spirit  of  the  Church  has  advanced 
and  its  vision  has  broadened,  but  always  in  a  manner 
to  confirm  rather  than  discredit  the  logic  of  our  orig- 
inal doctrines.  This  can  hardly  be  said  of  other 
evangelical  denominations,  whose  creeds  have  suffered 
radical  alteration. 

In  the  opinion  of  many  the  most  able  statement  in 
recent  years  of  Methodist  creed,  contained  within  the 
small  compass  of  three  hundred  words,  is  that  uttered 
by  Bishop  Andrews  in  the  Episcopal  Address  of  1900, 
and  effectively  quoted  by  Bishop  Goodsell  in  the 
Episcopal  Address  of  1908.  Here,  in  concise  and 
beautiful  language,  is  presented  the  faith  of  Method- 
ism, every  phrase  and  almost  every  word  being 
freighted  with  great  meaning.  In  order  to  show  how 
fully  our  hymns  coincide  with  our  faith,  we  present  in 
parallel  columns  each  phrase  of  the  creed  and  a  line 
from  some  corresponding  hymn,  expressing  the  same 
thought.  The  numbers  in  parenthesis  refer  to  the 
hymn  from  which  the  line  is  quoted : 

Bishop  Andrews's  Creed        Theology  of  the  Hymns 
We  believe  in  one  living  and     God  is  the  name  my  soul 
personal  God,  adores, 

The   almighty   Three,  the 
eternal  One  (80). 


THE  THEOLOGY  OF  THE  HYMNS 


139 


Bishop  Andrews^s  Creed 

the  Father  Almighty,  who  in 
perfect  wisdom, 


holines^and  love  pervades, 
sustains,  and  rules  the  world 
which  he^tas  made. 


Theology  of  the  Hymns 

No  earthly  father  loves  like 

thee  (86). 
God  is  wisdom,  God  is  love 
(88). 

The  one  Almighty  Father 
(567). 

Perfect  in  power,  in  love,  and 

purity  (78). 
Thy  voice  produced  the  sea 

and  spheres  (80). 
Rules  the  bright  worlds,  and 

moves  their  frame  (80). 


We  believe  in  Jesus  Christ, 
his  only  Son  our  Lord, 

in  whom  dwelt  all  the  full- 
ness of  the  Godhead  bodily, 

who  was  in  glory  with  the 
P^ather  before  all  worlds; 


who  became  flesh  and  dwelt 
among  us, 

the  brightness  of  the  glory  of 
God  and  the  express  image 
of  his  person ; 


who  died  for  sin,  the  just  for 
the  unjust. 


that  he  might  bring  man  to 
God; 


True  Son  of  the  Father  (125). 
O  Lord  and  Master  of  us  all 
(128). 

True  Godhead  Incarnate, 
Omnipotent  Word  (125). 

Who  from  the  Father's 
bosom  came  (148). 

Thou  didst  leave  thy  throne 
(122). 

Pleased  as  man  with  men  to 
appear  (111). 

His  head  with  radiant  glories 

crowned  (135) 
The  Father's  coeternal  Son 

(153). 

Veiled  in  flesh  the  Godhead 
see  (111). 

Bore  all  my  sins  upon  the 

tree  (153). 
And  on  his  sinless  soul 
Our  sins  in  all  their  guilt 

were  laid  (155). 

Is  crucified  for  me  and  you. 
To  bring  us  rebels  back 
to  God  (153). 


140 


MUSIC  AND  HYMNODY 


Bishop  Andrews's  Creed 
who  rose  from  the  dead  ; 


who  ascended  on  high, 

having  received  all  power 
in  heaven  and  earth, 

for  the  completion  by  grace 
and  judgment  of  the  kingdom 
of  God. 


Theology  of  the  Hymns 

Our  Lord  is  risen  from  the 

dead  (158). 
The  Lord  is  risen  indeed; 
The  grave  hath  lost  its 

prey  (157). 

Jesus,  King  of  glory,  is  gone 
up  on  high  (175). 

Jesus  rules  the  world  (177). 

The  Lord  Jehovah  reigns,  .  . 
His  truth  confirms  and  seals 
the  grace  (81). 

Born  to  raise  the  sons  of 
earth 

Born  to  give  them  second 
birth  (111). 


We  beheve  in  the  Holy 
Ghost, 

very  and  eternal  God, 

by  whose  operation  on  men 
dead  in  trespasses  and 
sin  they  are  quickened  to 
repentance,  faith, 


and  loving  obedience; 


are  made  aware  of  their  son- 
ship  with  God, 


Come,  Holy  Ghost,  our 
hearts  inspire  (181). 

O  Spirit  of  the  living  God! 
(188.) 

Thy  Spirit  can  from  dross 
refine. 

And  melt  and  change  this 
heart  of  mine  (274) . 

Whose  Spirit  breathes  the 
active  flame,  Faith 
(298). 

Spirit  of  faith,  come  down 
(191). 

Holy  Spirit,  .  .  . 
Reign  supreme  and  reign 
alone  (185). 

His  Spirit  answers  to  the 
blood, 

And  tells  me  I  am  born  of 
God  (301). 


THE  THEOLOGY  OF  THE  HYMNS  141 


Bishop  Andrews's  Creed  Theology  of  the  Hymns 

and  are  empowered  to  rise  Thy  sanctifying  Spirit  .  .  . 

into  the  full  stature  of  men  in  Make  me  pure  from  sin  (378) . 
Jesus  Christ. 


We  believe  in  the  impartial 
love  of  jjod  to  the  whole 
hUmanJamily, 

so  that  none  are  excluded 
from  the  benefits  thereof, 

except  as  they  exclude  them- 
selves by  willful  unbelief  and 
sin. 


And  whosoever  cometh 
I  will  not  cast  him  out 
(295). 

And  pledged  the  blood  divine 
To  ransom  every  soul  of 
man  (243). 

Will  ye  slight  His  grace,  and 
die?  (247.) 


We  believe  that  faith  in 
Christ,  the  self-surrender  of 
the  soul  to  his  government 
and  grace,  is  the  one  condi- 
tion upon  which  man  is  re- 
conciled to  God,  is  born 
again, 


becomes  partaker  of  the  Di- 
vine Nature  and  attains 
sanctification  through  his 
Spirit. 


We  accept  the  moral  law, 
confirmed  and  perfected  by 
the  Divine  Teacher, 


Give  me  the  faith,  that  casts 
out  sin, 
And   purifies    the  heart 
(358). 

By  faith  I  plunge  me  in  this 
sea; 

Here  is  my  hope,  my  joy, 

my  rest  (302). 
My  God  is  reconciled!  (301.) 
And  tells  me  I  am  born  of 

God  (301). 

Rooted  and  fixed  in  God 
(375). 

Come,  Holy  Ghost,  for  thee  I 
call  .  .  . 

My  steadfast  soul,  from  fall- 
ing free. 
Shall  then  no  longer  move 
(375). 

I  read  my  duty  in  thy  word ; 
But  in  thy  life  the  law  ap- 
pears. 

Drawn  out  in  living  charac- 
ters (140). 


142 


MUSIC  AND  HYMNODY 


Bishop  Andrews's  Creed 

and  set  forth  authoritatively 
in  the  Holy  Scriptures, 


and  we  believe  in  the  eternal 
consequences  of  good  and 
evil  iniierent  in  the  constitu- 
tion of  the  human  soul,  and 
declared  '^ith  the  utmost 
solemnity  by  him,  the  final 
Judge  of  human  life. 


Theology  of  the  Hymns 

Thy   word    is  everlasting 
truth; 

How  pure  is  every  page! 
That  holy  book  shall  guide 
.  .  .  (204). 

Assured  if  I  my  trust  betray, 
I  shall  forever  die  (388). 

And  bid  his  guilty  conscience 

dread 

The  death  that  never  dies 
(245). 


There  are  some  lesser  points  of  belief,  or  shades  of 
meaning,  in  the  Apostles'  Creed  that  Bishop  Andrews's 
creed  does  not  specifically  express,  but  w^hich  are 
clearly  taught  in  our  hymns.  The  Virgin  Birth,  for  in- 
stance, is  celebrated  in  hjrans  111,  112,  117,  123,  and 
125.  The  resurrection  of  the  body  is  taught  in  hymn 
586,  without  prejudice  upon  the  theological  debate 
as  to  whether  or  not  it  is  to  be  a  physical  or  a  spiritual 
body  into  which  men  shall  be  raised.  In  the  following 
columns  we  have  set  corresponding  hymns  opposite 
some  of  the  familiar  phrases  of  the  Apostles'  Creed,  not 
emphasized  in  Bishop  Andrews's  creed. 


Apostles'  Creed 
Christ,  the  only  Son 

Suffered  (under  Pontius  Pi- 
late). 

Was  crucified,  dead  and 
buried. 


Theology  of  the  Hymns 

Cf  the  Father's  Godhead 
true  and  only  Son  (166). 

Pierced  and  nailed  him  to  the 
tree  (601). 

So  Jesus  slept:  God's  dying 
Son 

Passed  through  the  grave, 
and  blessed  the  bed 
(586). 


THE  THEOLOGY  OF  THE  HYMNS 


143 


Apostles'  Creed 
The  third  day  he  rose. 


Sitteth\oprthe  right  hand  of 


Theology  op  the  Hymns 

Tis  thine  own  third  morn- 
ing, 

Rise,  O  buried  Lord  (166). 

He  sits  at  God's  right  hand 
(178). 

Christ  is  coming!  (602.) 
Thou  awful  Judge  of  quick 
and  dead  (600). 

One  holy  Church,  one  army 
strong  (209). 

O  blest  communion,  fellow- 
ship divine! 
We  feebly  struggle,  they  in 

glory  shine ; 
Yet  all  are  one  in  thee,  for 
all  are  thine  (430). 

Praise  him,  who  pardons  all 
our  sin  (20). 

A  glorious  form 
Shall  then  ascend  to  meet 
the  Lord  (586). 

All  meet  thee  in  the  blessed 
home  above. 

Thy  everlasting  home  of 
peace  and  love  (671). 

In  God^s  likeness,  man 
awaking 

^  Knows    the  everlasting 

peace  (160). 

Thus  all  the  main  points  of  our  theology  are  ex- 
pressed in  our  hymns;  and  the  great  doctrines  of 
the  Methodist  Episcopal  Church  are  being  chanted 
in  the  music  of  the  sanctuary. 


From  thence  he  shall  come  to 
judge  the  quick  and  the  dead. 

The  holy  Catholic  Church. 

The  Communion  of  saints. 


The  forgiveness  of  sins. 

The  resurrection  of  the  body. 


Life  everlasting. 


CHAPTER  VII 


THE  LITERARY  BEAUTIES  OF  THE  HYMNS 

Real   Hymns,  True   Poems — Legitimate    Emotions — 
Diction  and  Imagery — Rhythm  and  Meter 

A  RECENT  work  on  hymnology  proposes  this  state- 
ment: ''A  hymn  is  not  necessarily  a  poem,  while  a 
poem  that  can  be  sung  as  a  hymn  is  something  more 
than  a  poem.  Imagination  makes  poems;  devotion 
makes  hymns.  There  can  be  poetry  without  emotion, 
but  a  hymn  never.  A  poem  may  argue ;  a  hymn  must 
not."  This  passage  is  based  upon  a  false  conception 
of  the  true  nature  of  poetry.  It  is  not  difficult  to 
carry  to  the  inevitable  false  conclusion  the  proposition 
that  not  all  sacred  poems  are  hymns,  even  those  cast 
in  the  usual  hymn  meters.  But  in  order  to  prove  that 
good  hymns  are  not  always  poems  one  must  assume 
an  unworthy  definition  for  hymns,  as  well  as  for 
poetry. 

There  can  be  no  true  poetry  without  emotion.  One 
of  the  members  of  our  Hymnal  Commission,  Dr.  C.  T. 
Winchester,  professor  of  English  literature  in  Wes- 
leyan  University,  has  treated  of  the  emotional  element 
in  poetry  in  his  work  on  literary  criticism.^  After 
quoting  as  representative  of  the  modern  conception 
the  definitions  of  poetry  uttered  by  Wordsworth, 
Shelley,  Emerson,  Browning,  Leigh  Hunt,  Clarence 
Stedman,  and  Coleridge,  all  of  whom  recognized  the 

1  **The  Elements  of  Literary  Criticism,"  by  Caleb  T.  Winchester,  Litt.Doc. 
144 


LITEEARY  BEAUTIES  OF  THE  HYMNS  145 


emotional  element  as  essential  to  poetry,  he  expresses 
the  results  of  their  thought  in  the  following  passage : 
'  We  iii^jridefine  poetry  as  that  variety  of  the  literature 
of  miGtioniibhich  is  written  in  metrical  form.  Or,  aban- 
doning the  strictly  logical  style  of  definition,  we  may 
say  that  poetry  is  that  form  of  literature  whose  pur- 
pose is  to  appeal  to  the  emotions,  and  which  is  written 
in  metrical  form.'' 

A  true  hymn  must  be  expressive  of  emotion,  and 
somewhat  in  a  universal  sense,  even  though  it  be 
primarily  the  expression  of  a  personal  emotion.  But 
this  in  itself  is  not  enough.  If  the  writer  lack  the 
ability  or  the  inspiration  for  poetic  expression,  his 
most  intense  emotion  may  result  in  mere  doggerel, 
as  is  too  often  the  result.  Such  unpoetical  rhymings, 
when  uttering  a  great  spiritual  truth,  may  even  pro- 
duce a  certain  quality  of  emotion  among  the  young 
or  those  who  are  ignorant  in  literary  taste.  As  an 
example  of  the  former,  we  find  in  William  T.  Stead's 
book,  ''Hymns  that  Have  Helped,"  the  following 
verses,  which  helped  him  most  as  a  boy: 

His  love  in  times  past 

Forbids  me  to  think 
He'll  leave  me  at  last 

In  trouble  to  sink. 
Each  sweet  Ebenezer 

I  have  in  review 
Confirms  his  good  pleasure 

To  help  me  quite  through. 

In  spite  of  its  bad  rhyme  and  questionable  logic,  which 
his  later  tastes  would  condemn,  these  verses  still  recur 
to  him  with  all  of  their  helpful  associations  from  his 


146  MUSIC  AND  HYMNODY 


early  days  as  a  source  of  comfort  to  him  now.  The 
principle  of  association  of  ideas  will  psychologically 
explain  the  fondness  that  many  of  us  bear  toward 
some  hymns,  in  themselves  altogether  unworthy  of 
admiration.  They  are  linked  with  stirring  episodes 
in  our  lives,  or  else  have  held  a  very  dear  place  in  our 
hearts  before  the  time  when  our  minds  were  awakened 
to  the  real  beauties  of  literature.  But  this  peculiarly 
personal  fondness  for  a  poor  h3n3m  is  no  argument 
whatsoever  for  its  use  in  public  worship;  and  against 
this  danger  we  must  conscientiously  guard.  As  for 
those  who  are  unable  or  unwilling  to  recognize  the 
emotional  content  of  a  hymn,  and  are  constantly 
foisting  upon  congregations  and  religious  assemblies 
the  latest  batch  of  doggerel,  meaningless  for  the  most 
part,  and  awaking  only  the  emotions  of  ridicule  or  pity 
among  thoughtful  people,  their  case  seems  to  be  as 
hopeless  as  it  is  illogical.  It  is  not  enough  that  a 
hymn  be  wrought  out  of  some  intense  emotional 
experience;  it  must  have  the  power  to  reproduce 
emotion,  and,  from  the  very  nature  of  a  true  hymn,  its 
appeal  to  the  emotions  must  be  more  or  less  universal. 

When  we  add  to  this  emotional  quality  the  necessity 
of  meter  and  rhythm,  and  these  especially  restricted 
to  the  most  regular  forms  because  of  the  demands  of 
the  music,  we  cannot  escape  the  conclusion  that  good 
hymns  must  be  poems.  They  form  but  a  subdivision 
of  that  department  of  literature  defined  as  sacred 
poetry.  In  general,  it  may  be  said  that  examples  of 
nearly  all  the  emotions  expressed  in  other  religious 
poetry  may  be  found  among  the  true  hymns.  But 


LITERARY  BEAUTIES  OF  THE  HYMNS  147 

the  m^t  pffe^tive  hymns  avoid  some  of  the  emotions, 
upon^hichrbroader  forms  of  sacred  poetry  may  dwell 
with  propriety.  Wherein  much  sacred  poetry  differs 
from  the  hymns  may  be  seen  as  this  discussion  imfolds. 

Let  us  consider  first  the  emotions  which  can  be 
legitimately  expressed  by  a  hymn.  In  the  first  place, 
hymns  may  express  the  elemental  emotions  of  either 
joy  or  grief.  But  in  expressing  or  exciting  grief 
through  contemplation  of  the  divine  passion,  through 
sorrow  for  sins,  or  through  the  suggestion  of  mourning 
for  the  dead,  a  hymn  does  not  serve  the  highest  emo- 
tional purpose  in  making  grief  a  finality.  It  must  at 
least  direct  the  mind  toward  joy  and  its  sources,  such 
as  our  redemption  through  the  cross,  forgiveness  of 
sins,  and  the  higher  meaning  of  sorrow  and  of  the  life 
beyond  the  grave.  The  following  hymns  are  selected 
from  many  that  beautifully  illustrate  the  joyful  pur- 
pose of  a  sorrowful  hymn:  ^^0  sacred  Head  now 
wounded''  (151),  ^^Return,  0  wanderer,  return''  (255), 
''Weep  not  for  a  brother  deceased"  (594).  Most 
Christian  hymns  may  be  said  to  be  written  throughout 
in  the  strain  of  profound  joy;  but  where  this  joy  is 
superficial  and  thoughtless,  as  in  many  a  camp-meet- 
ing chorus,  the  effect  is  somatic  rather  than  spiritual, 
and  the  reaction  that  follows  is  usually  harmful. 

Coming  to  the  more  complex  and  specialized  forms 
of  emotion,  hymns  may  legitimately  express  such 
emotions  as  love,  humility,  sympathy,  confidence  or 
peace,  and  the  feeling  of  social  unity;  but  almost 
never  their  opposites — hatred,  pride,  scorn  or  ridicule, 
fear,  and  loneliness.    In  poems  of  wider  scope,  treat- 


148  MUSIC  AND  HYMNODY 


ing  of  sacred  themes,  as  Milton's  'Taradise  Lost,"  and 
Bickersteth's  ^Testerday,  To-day,  and  Forever,''  some 
of  these  opposites  may  be  portrayed  in  the  course  of 
the  narrative,  though  never  as  a  dominant  emotion. 

Among  the  abstract  sentiments  hymnology  ex- 
presses nearly  the  whole  gamut  of  these  emotions. 
The  feelings,  arising  respectively  from  the  perception 
of  Truth,  of  Beauty,  and  of  Right,  may  all  be — indeed, 
should  all  be — stirred  simultaneously  in  the  singing  of 
a  hymn,  each  awakened  by  a  different  element  of  the 
hymn.  In  so  far  as  the  intellect  perceives  that  the 
language  of  the  hymn  declares  Truth,  the  pleasure  of 
the  logical  element  is  stirred.  In  so  far  as  the  poem 
and  its  music  appeal  to  our  tastes  as  an  artistic  work  of 
real  Beauty  our  aesthetic  pleasure  is  stimulated.  In  so 
far  as  we  recognize  the  hymn  as  clearly  pointing  to  us 
the  path  of  our  personal  duty  our  moral  sentiments 
are  aroused.  A  defect  in  any  one  of  these  elements, 
an  error  from  truth,  an  inartistic  expression  in  poetry 
or  music,  a  moral  blemish  in  the  thought,  will  at  once 
vitiate  the  effect  of  the  whole  hymn  in  proportion  as 
the  defect  is  recognized;  for,  if  any  one  of  these  senti- 
ments is  outraged,  it  will  serve  to  create  a  sense  of 
incongruity,  an  emotional  discord,  that  is  fatal  to  the 
very  purpose  of  hymn-singing. 

The  sense  of  ridicule  rather  than  devotion  is  aroused 
by  the  incongruity  of  such  lines  as  the  ancient  hymn 
verse,  known  to  some  of  our  grandfathers : 

Ye  monsters  from  the  bubbling  deep, 

Your  Master's  praises  spout; 
And  from  the  sands  ye  coddlings  peep, 

And  wag  your  tails  about. 


liiTEB^RY  BEAUTIES  OF  THE  HYMNS  149 

A^neration  that  laid  especial  stress  upon  future 
eternal  punishment  produced  this  horrible  verse,  by 
Wigglesworth,  on  heathen  and  infant  damnation : 

They  wring  their  hands,  their  caitiff  hands, 
Arid  gnash  their  teeth  for  terror, 

They  cry,  they  roar  for  anguish  sore, 
And  gnaw  their  tongues  for  horror. 

This  revolting  picture,  besides  shocking  the  imagina- 
tion, outrages  our  sense  of  truth  and  divine  justice  in 
consigning  infants  and  heathen  to  suffer  infinite  tor- 
ture because  of  the  limitations  of  their  age  or  environ- 
ment. 

Likewise  those  hymns  that  exhort  to  holiness  for 
the  sake  of  the  rewards  after  death  excite  our  con- 
tempt because,  however  beautiful  they  may  be  in 
other  respects,  they  fall  far  short  of  the  high  ethical 
motives  for  holiness  that  Saint  Francis  Xavier  ex- 
pressed in  the  ancient  hymn : 

My  God,  I  love  thee,  not  because 

I  hope  for  heaven  thereby. 
Nor  yet  because,  if  I  love  not, 

I  must  forever  die. 

In  each  of  these  examples  of  faulty  hymns  the  emo- 
tional defect  has  made  it  impossible  for  use.  A 
necessary  condition  for  all  literary  excellence  in 
poetry,  and  a  necessary  condition  for  the  highest 
spiritual  dynamics  in  hymn-singing,  is  the  blending 
of  all  the  emotions  involved  into  a  harmonious  unity. 

Professor  George  A.  Coe  in  his  psychological  study, 
^The  Spiritual  Life,''  has  uttered  a  forceful  protest 
against  the  temperamental  interpretation  of  the 


150  MUSIC  AND  HYMNODY 


Christian  life,  such  as  is  too  often  presented  by  the 
Church.  In  a  brief  but  valuable  passage  on  '^some 
psychological  aspects  of  hymnology''  he  has  shown 
how  this  one-sidedness  is  reflected  in  our  hymns. 
Declaring  that  a  difference  in  the  quality  of  emotion 
is  of  much  greater  importance  than  a  difference  in 
intensity,  he  classifies  the  hymns  according  to  their 
emotional  attitude  into  two  divisions.  The  first,  by 
far  the  greatest  in  volume,  represents  the  subjective 
attitude,  the  treatment  of  the  religious  life  from  the 
standpoint  of  personal  experience,  of  introspection,  of 
self-consciousness.  The  second,  which  by  its  paucity 
of  expression  seems  to  be  greatly  neglected,  is  the  ob- 
jective attitude,  the  expression  of  the  religious  life  in 
practical  activities,  in  good  works,  in  Christian  deeds. 
His  statistics,  based  upon  the  former  Methodist 
Episcopal  Hymnal,  prove  a  better  case  than  can  be 
shown  by  the  present  Hynrnal,  for  the  Joint  Hymnal 
Commission  seems  to  have  had  his  criticism  somewhat 
in  mind.  We  still  find,  however,  that  of  the  total 
number  of  hymns  only  269  are  under  the  heading  of 
''Christian  Activity  and  Zeal''  (nearly  one  fifth  more 
of  the  whole  than  the  old  Hymnal  contained).  The 
hymns  of  ''Christian  Activity''  in  the  Methodist 
Episcopal  Church,  South,  Hymnal  appear  to  be  in 
about  the  same  proportion  as  in  the  Methodist  Episco- 
pal Hymnal  examined  by  Professor  Coe.  Of  the  forty- 
seven  hymns  on  "Christian  Activity"  in  the  old  Method- 
ist Episcopal  Hynmal  he  found  only  nine  treating 
"Activity"  subjectively,  directing  the  attention  to  the 
things  to  be  done,  to  the  activity  itself  ;  and  thirty- 


Literary  beauties  of  the  hymns  151 

1^^   ^ 

two  treating  ' 'Activity' '  subjectively  from  the  stand- 
point of  one's  emotions  during  activity,  while  six  were 
mixed  or  indeterminate. 

Examples  of  objective  treatment  of  '^Activity''  are: 
''Forward!  be  our  watchword''  (384),  ''Hark,  the  voice 
of  Jesus  calling"  (402),  the  second  verse  of  which  was 
added  in  the  new  Hynmal  to  the  two  verses  in  both 
the  old  Hymnals: 

If  you  cannot  cross  the  ocean, 

And  the  heathen  lands  explore, 
You  can  find  the  heathen  nearer, 

You  can  help  them  at  your  door. 
If  you  cannot  give  your  thousands, 

You  can  give  the  widow's  mite. 
And  the  least  you  give  for  Jesus 

Will  be  precious  in  his  sight. 

Examples  of  subjective  treatment  of  "Activity" 
are :  "Am  I  a  soldier  of  the  cross"  (393),  dwelling  upon 
blushes  and  fears  and  a  study  of  the  fighter's  emotions 
rather  than  the  activity  itself :  "Workman  of  God!  0 
lose  not  heart"  (392),  and  "Awake,  our  souls!  away, 
our  fears!"  (405,)  cheering  against  "trembling 
thought,"  mortal  spirits  that  tire  and  faint,  "native 
strength"  that  "shall  melt  away,  and  droop,  and  die." 

It  is  not  to  be  assumed  that  such  hymns  as  these 
last,  treating  activity  subjectively,  are  false  in  their 
emotion,  or  are  undesirable  in  a  hymn  collection. 
Only  the  great  disproportion  between  these  and  the 
other  class  of  hymns  on  "Activity"  itself  is  to  be 
deplored. 

We  find  that  eight  of  the  nine  hymns  in  the  old 
Methodist  Episcopal  Hymnal,  treating  "Activity" 


152  MUSIC  AND  HTMNODY 


objectively  are  included  in  the  new  Hymnal;  and 
most  of  the  hymns  treating  '^Activity^'  subjectively 
have  been  dropped.  Thus  far  there  is  a  gain.  But  of 
the  seventeen  new  hymns  under  this  heading  only 
three  may  be  regarded  as  strictly  objective.  Sum- 
ming up  these  statistics,  we  find  that  less  than  one 
fifth  of  the  hymns  in  the  former  book  on  Activity^' 
are  objective,  but  in  the  new  Hymnal  more  than  one 
quarter. 

In  the  old  Hymnal  the  hymns  dealing  with  any 
kind  of  church  work  form  less  than  half  of  those 
classified  under  ^The  Church,''  in  the  new  Hymnal 
they  form  two  thirds  of  the  hymns  on  the  subjects 
formerly  classified  under  ^The  Church.''  In  the  old 
Hymnal  the  hymns  on  Christ's  life  and  character 
formed  less  than  ten  per  cent  of  the  body  of  hymns  on 
the  subject  of  Christ;  in  the  new  Hymnal  they  form 
over  twenty  per  cent.  Thus,  in  the  objective  treat- 
ment of  ^'Christian  Activity,"  ^The  Church,"  and  the 
life  of  Christ  in  the  new  Hymnal  there  has  been  a  dis- 
tinct gain.  That  it  is  an  insufficient  gain  is  partly 
due  to  the  scarcity  of  good  objective  hymns. 

While  it  is  true  that  emotion  is  a  criterion  of  good 
poetry,  and,  consequently,  of  good  hymns,  it  is  not 
begging  the  question  to  say  that  the  intensity,  and  to 
some  extent  the  quality,  of  the  poetical  emotion  of  a 
hymn  is  often  determined  by  the  poet's  choice  of 
words,  for  in  the  English  language  there  are  always 
many  different  ways  of  expressing  the  same  spiritual 
truth.  The  legitimate  vocabulary  of  hymns  is  greatly 
circumscribed  in  both  of  two  opposite  directions.  At 


BEAUTIES  OF  THE  HYMNS  153 

one  extreme  a  great  number  of  prosaic  words,  and  a 
still  greater  number  of  prosaic  phrases,  perfectly 
legitimate  in  prose,  are  entirely  out  of  place  in  poetry, 
and,  therefore,  in  hymns.  Their  commonplace  nature 
revolts  against  the  art  of  hymnodic  expression.  At 
the  other  extreme  there  is  a  wealth  of  poetic  diction, 
preciose  words,  ornate  expressions,  and  elaborate, 
fanciful  iSgures  of  speech,  perfectly  allowable  in  most 
poetry,  but  never  in  hymns.  They  dilute  the  spiritual 
emotion  of  the  hymn,  or  divert  the  thought  of  common 
worship. 

Our  Hymnal  is  singularly  free  from  either  vulgar  or 
over-elaborate  diction,  because  of  the  true  literary 
standards  upon  which  the  work  of  the  Hymnal  Com- 
mission is  based.  Nevertheless,  within  the  hmits  of 
good  taste  both  simple  and  elaborate  methods  may  be 
observed  in  the  literary  style  of  our  hymns.  The 
older  hymn-writers  preferred  the  former  method. 
Their  hymns,  that  have  survived  to  present-day  use, 
are  marked  by  the  simple,  familiar  English  phraseol- 
ogy, such  as  in  the  German  vernacular  Martin  Luther 
commended  and  employed  with  great  success.  An 
examination  of  Isaac  Watts's  hymns  will  illustrate  to 
the  reader  this  simplicity  of  diction,  in  which  most  of 
the  old  Psalm  translations  were  made. 

While  Charles  Wesley's  vocabulary  was  much  more 
extended  that  Watts's,  even  within  the  same  number 
of  hymns,  it  is  largely  confined  to  strong,  simple  words, 
though  nearly  always  in  the  best  and  purest  English, 
and  in  the  less  ambitious  figures  of  speech. 

The  conscious  self-restraint  of  these  two  foremost 


154  MUSIC  AND  HYMNODY 


hjmin-writers  of  the  eighteenth  century  is  also  to  be 
observed  in  their  contemporaries.  This  earlier  school 
demonstrated  that  noble,  majestic,  thrilling  hymns 
can  be  wrought  out  of  simple  words  and  figures. 
Possibly  this  may  have  given  rise  to  the  idea  that 
hymns  need  not  be  poetic.  Nevertheless,  there  is  a 
true  poetry  in  their  austere  chants  that  has  stirred  the 
spiritual  emotions  of  many  generations  of  men. 

The  modern  hymn-writers,  on  the  other  hand,  have 
greatly  enlarged  the  vocabulary  of  hymnody,  albeit 
within  the  bounds  of  propriety;  and,  furthermore, 
they  have  adopted  a  much  wider  range  of  imagery 
than  their  predecessors,  who  did  not  entirely  scorn, 
however,  the  poetic  figures  of  speech. 

Our  hymns  abound  in  rich  imagery.  The  doctrinal 
thought  is  intensified  by  an  appeal  to  the  imagination 
through  the  memory  of  all  five  senses.  The  sense  of 
hearing  is  representatively  awakened  in  the  lines : 

Far,  far  away,  like  bells  at  evening  pealing, 

The  voice  of  Jesus  sounds  o'er  land  and  sea  (621)  ; 

of  touch: 

Thy  touch  has  still  its  ancient  power  (54) ; 

Jesus  can  make  a  dying-bed 

Feel  soft  as  downy  pillows  are  (Watts,  581) ; 

of  taste : 

His  purposes  will  ripen  fast, 

Unfolding  every  hour: 
The  bud  may  have  a  bitter  taste, 

But  sweet  will  be  the  flower  (96) ; 

of  smell: 

Our  thoughts  and  thanks  may  rise 
As  grateful  incense  to  the  skies  (70) ; 


LITEKXErtfeAUTIES  OF  THE  HYMNS  155 
of  sight : 

Enthroned  amid  the  radiant  spheres, 

He  glory  like  a  garment  wears; 

To  form  a  robe  of  light  divine, 

Ten  thousand  suns  around  him  shine  (23). 

Through  the  vision  of  some  bit  of  color  the  poet  fre- 
quently portrays  the  deeper  meaning  of  his  thought. 
Thus  we  behold  the  royal  richness  of  the  coming  of  the 
morning: 

Still,  still  with  thee,  when  purple  morning  breaketh  (43) ; 
When  morning  gilds  the  skies  (32). 
Redemption  through  sorrow  flames  in  the  lines : 
His  blood-red  banner  streams  afar  (416), 

and 

I  lay  in  dust  life's  glory  dead, 
And  from  the  ground  there  blossoms  red 
Life  that  shall  endless  be  (481) ; 

or  the  dazzling  purity  of  the  saints  in  heaven: 

Who  are  these  arrayed  in  white 

Brighter  than  the  noon-day  sun?  (619.) 

In  the  night  scenes  of  the  Hymnal  our  sacred  poets 
have  given  to  us  some  of  the  most  beautiful  imagery, 
that  appeals  to  the  sense  of  vision.  What  a  picture 
Walter  Scott  has  made  of  Israel's  Divine  Guide  through 
the  wilderness! — 

By  day,  along  th'  astonished  lands, 

The  cloudy  pillar  glided  slow  ; 
By  night,  Arabia's  crimsoned  sands 

Returned  the  fiery  column's  glow  (95). 


156  MUSIC  AND  HYMNODY 

The  heavenly  firmament  by  night,  that  inspired  the 
second  verse  of  Addison's  hymn, 

Soon  as  the  evening  shades  prevail, 

The  moon  takes  up  the  wondrous  tale  (84), 

and  Sir  Robert  Grant's  hymn  (203),  employing  the 
selfsame  imagery,  gives  beauty  to  the  thought  of  these 
lines: 

Thou  who  hast  sown  the  sky  with  stars,  setting  thy  thoughts 
in  gold  (714). 

Wait  and  worship,  while  the  night 
Sets  her  evening  lamps  alight 
Through  all  the  sky  (57). 

He  paints  the  wayside  flower 
He  lights  the  evening  star  (716). 

Something  of  the  wonder  of  night  is  deepened  in  the 
poetic  descriptions  of  the  first  Christmas  night,  as  in 
the  old  carol,  ^^Silent  Night,"  or  J.  G.  Holland's  poem, 
"And  the  star  rains  its  fire  while  the  beautiful  sing" 
(112).  Contrasted  with  this  stands  the  loneliness  of 
night : 

Cold  mountains  and  the  midnight  air 
Witness  the  fervor  of  thy  prayer  (140), 

and  the  symbolism  of  darkness : 

Thy  tender  mercies  shall  illume 
The  midnight  of  the  soul  (446), 

Our  midnight  is  thy  smile  withdrawn  (82), 

Ashamed  of  Jesus!  sooner  far 

Let  evening  blush  to  own  a  star  (443). 

Charles  Wesley's  hymn,  suggested  by  a  night  scene, 
^^See  how  great  a  flame  aspires"  (643),  abounds  in 


LITE^AEY  BEAUTIES  OF  THE  HYMNS  157 

imagery;  but  the  figure  is  changed  in  each  verse,  and 
that  which  is  represented  by  a  fire  in  the  first  verse  is 
symbolized  by  a  shower  in  the  last. 

There  is  a  startling  vividness  in  some  of  the  exqui- 
site images  in  miniature : 

The  lightning-rifts  disclose  his  throne  (686), 

The  tumult  of  our  life's  wild  restless  sea  (545), 

When  trouble,  like  a  gloomy  cloud  (539), 

The  darksome  prison-house  of  sin  (654), 

Like  some  bright  dream  that  comes  unsought  (537), 

A  long  familiarity  with  old  hymns  sometimes  dulls  our 
appreciation  of  their  imagery,  as  for  instance  Addi- 
son's biographical  metaphor: 

When  in  the  slippery  paths  of  youth 
With  heedless  steps  I  ran  (105), 

and  Sir  John  Bowring's  thrilling  lines: 

In  the  Cross  of  Christ  I  glory, 
Towering  o'er  the  wrecks  of  time  (143). 

Much  of  the  familiar,  rich  imagery  of  the  Scriptures 
has  been  embodied  in  our  hynms,  adding  to  the 
beauty  and  strength  of  the  thought.  The  Scriptures 
are  represented  as  the  ^'lamp  of  our  feet''  (205) ;  the 
Eucharist,  "  Bread  of  heaven,  wine  of  gladness " 
(235);  aspiration,  "As  pants  the  hart  for  cooling 
streams"  (316);  and  the  Church, 

A  mountain  that  shall  fill  the  earth, 
A  house  not  made  with  hands  (214). 


158  MUSIC  AND  HYMNODY 

Nathaniel   P.  Willis  draws  from  Holy  Writ  his 

picture  of  creation : 

The  mountains  in  their  places  stood, 
The  sea,  the  sky ;  and  all  was  good ; 
And  when  its  first  pure  praises  rang, 
The  morning  stars  together  sang  (660). 

Likewise  Dr.  Bickersteth's  conception  of  life  gives  a 
biblical  picture  of  the  out-of-doors : 

Our  years  are  like  the  shadows 

On  sunny  hills  that  lie, 
Or  grasses  in  the  meadows 

That  blossom  but  to  die  (18). 

As  h)niins  are  essentially  reflective  or  hortatory, 
they  afford  little  opportunity  for  the  description  of 
people,  or  personal  episodes.  But  the  few  touches 
of  this  description  in  the  Hymnal  are  drawn  with  vigor 
and  beauty.  It  is  true  poetry  that  can  flash  such 
clear  pictures  in  so  few  words  as  may  be  found  in  these 
lines: 

Where  at  sultry  noon,  thy  Son 
Sat  weary  by  the  patriarch's  well  (12), 

When  glory  beamed  from  Moses'  brow  (187), 

In  simple  trust  hke  theirs  who  heard, 

Beside  the  S>Tian  sea 
The  gracious  calling  of  the  Lord  (543). 

In  the  missionary  hymns  by  a  poetic  touch  of  the 
imagination  we  are  carried  in  a  trice  to  distant  lands. 
The  realm  of  Mohammedanism  is  suggestively  de- 
scribed thus: 

Where  the  lofty  minaret 

Gleams  along  the  morning  skies, 
Wave  it  till  the  crescent  set, 
And  the  Star  of  Jacob  rise  (640). 


LITEEARY  BEAUTIES  OF  THE  HYMNS  159 


Within  the  compass  of  a  few  Unes  (655)  Bishop  Heber 
carries  us  to  "  Greenland's  icy  mountains/'  ^^India's 
coral  strand/'  "Where  Afric's  sunny  fountains  roll 
down  their  golden  sand/'  "many  an  ancient  river/' 
"many  an  ancient  palm/'  the  land  where  "spicy 
breezes"  "blow  soft  o'er  Ceylon's  isle";  in  fact,  sug- 
gesting the  whole  earth,  through  which  the  gospel 
must  be  borne  until  "it  spreads  from  pole  to  pole." 

From  the  very  limitations  of  hymnody  there  is  little 
freedom  offered  for  dramatic  development.  A  few  of 
the  hymns  suggest  dialogue  in  their  questions  and 
answers.  "Watchman,  tell  us  of  the  night"  (636)  is  a 
dialogue  throughout,  each  couplet  alternately  being 
the  words  of  either  the  Traveler  or  the  Watchman. 
This  is  marked  by  the  device  of  placing  the  first  word 
of  each  two  lines  in  the  vocative.    Thus,  we  read : 

Watchman,  tell  us  of  the  night, 
What  its  signs  of  promise  are, 

to  which  the  Watchman  replies: 

,    Traveler,  o'er  yon  mountain's  height 
See  that  glory-beaming  star  I 

Thus  the  conversation  proceeds  dramatically  through 
the  whole  hymn. 

Another  hymn  of  questions  and  answers  is  the 
ancient  Greek  hymn  (293) : 

Art  thou  weary,  art  thou  languid, 
Art  thou  sore  distressed? 

to  which  the  reply  comes  with  a  flood  of  comfort  and 
love: 

Come  to  me,  saith  One,  and,  coming. 
Be  at  rest. 


160  MUSIC  AND  HYMNODY 


Each  verse  of  the  hymn  is  patterned  after  this 
design. 

In  the  Hymnal  under  the  division  ^The  Gospel/' 
we  find  that  the  hymns  somiding  forth  ^The  Need  of 
Salvation''  and  ^Warnings  and  Invitations"  speak 
with  dramatic  emphasis.  Eight  of  the  first  dozen 
hymns  in  this  section  ask  startling  questions  to  awaken 
the  slumbering  conscience. 

Charles  Wesley's  great  hymn,  ^'Come,  0  thou 
Traveler  unknown"  is  a  thrilling  drama  in  miniature; 
and,  though  the  hymn  utters  the  words  of  but  one  of 
the  two  wrestlers  in  that  battle  of  love,  the  action 
throughout  is  intense,  and  the  progress  of  the  contest 
is  followed  at  every  step. 

The  metrical  forms  into  which  is  molded  the 
poetry  of  hymns  are  comparatively  few.  This  is  due 
to  the  limitations  of  the  hymn  tunes,  their  musical 
form,  and  the  impossibility  of  repeating  words  and 
phrases,  as  in  song  form,  except  in  the  refrain.  A  few 
unusual  meters  creep  into  our  hymnody,  for  which 
tunes  must  be  especially  constructed,  sometimes 
successfully,  as  ''Lead,  kindly  Light,"  or  ^'Be  strong!" 
(407),  and  sometimes  not  so  successfully. 

The  stately  hymn  meters  progress  nearly  always 
through  lines  of  many  syllables.  Aside  from  the  short 
meter  poems  (6.  6.  8.  6.),  only  a  small  percentage  (less 
than  eight  per  cent.)  of  the  hymns  begin  with  a  line  less 
than  seven  syllables,  while  the  average  line  of  the 
whole  collection  is  nearly  eight.  The  rhythm  is  also 
marked  with  stateliness  and  dignity,  as  befitting  the 


LITERAEY  BEAUTIES  OF  THE  HYMNS  161 


subjects  of  hymnody.  With  the  exceptions  noted 
later  in  this  chapter,  our  hymns  are  based  almost 
entirely  upon  the  two-beat  rhythm,  two  syllables 
occurring  in  each  foot  of  meter.  This  rhythm  is  dis- 
tinctly recognized  by  authorities  as  fitting  to  the 
poetry  of  reflection,  in  contrast  to  the  poetry  of  narra- 
tive and  motion/ 

On  this  two-beat  rhythm  are  built  our  most  popular 
metrical  forms — coromon  meter,  long  meter,  and 
short  meter.  Long  meter  is  uniformly  made  of  eight- 
syllable  lines,  each  containing  four  feet  of  two  beats  to 
each  foot:  v^  —  |w  — 

Of  its  various  forms  there  are  114  examples,  besides  7 
with  refrain  added.  Of  common  meter  the  first  and 
third  lines  are  of  eight  syllables  each,  as  in  long  meter, 
but  the  second  and  fourth  are  of  only  six  syllables. 
This  is  said  to  be  the  feeblest  of  the  meters  for  gen- 
eral poetic  use.  Of  its  four,  six,  and  eight-line  verses 
there  are  114  examples  in  the  Hymnal. 


Short  meter  is  so  called  because  the  syllables  of  each 
four-line  verse  are  in  the  order  of  6.  6.  8.  6.;  and  of 
these  there  are  36  examples,  besides  8  with  a  refrain. 


It  is  to  be  regretted  that  in  the  Metrical  Index  the 


1  "The  Musical  Basis  of  Verse,"  by  J.  P.  Dabney.  LoDgmans,  Green 
&  Co.,  1911,  pp.  66  et  seq. 


162 


MUSIC  AND  HYMNODY 


full  names  of  these  three  meters  are  not  given,  but 
only  their  initial  letters.  The  C.  P.  M.,  L.  P.  M.  and 
H.  M.  of  the  Methodist  Episcopal  Hymnal  have, 
fortunately,  given  place  to  the  more  definite  terms, 
8.  8.  6.  Double,  8.  8.  8.  Double  and  6.  6.  6.  6.  8.  8.  re- 
spectively. A  brief  study  of  the  Metrical  Index, 
which,  by  the  way,  should  be  mastered  by  everyone 
conducting  worship  regularly,  will  soon  familiarize  the 
student  with  the  metrical  forms  there  enumerated. 
The  numbers  at  the  top  of  each  group  refer  to  the 
number  of  syllables  in  the  successive  lines,  recurring 
in  regular  order.  For  example,  if  you  will  count  the 
syllables  in  ^'Angel  Voices,^'  in  hymn  27,  you  will  find 
that  the  lines  of  each  verse  arrange  themselves  in  the 
number  of  syllables  they  contain,  as  follows:  8. 5.  8.  5. 
8.  4.  3.,  which  is  the  heading  under  which  the  hymn 
and  tune  are  classed.  The  word  ^'Double"  and  the 
"s''  pluralizing  the  number  to  which  it  is  attached, 
and  the  letter  ^T'  for  'lines,''  merely  refer  to  the 
number  of  lines,  in  which  the  number-schemes  of  the 
syllables  are  repeated.  With  these  few  rules  in  mind, 
a  glance  at  the  ninety-one  different  metrical  forms 
specified  will  satisfy  one  that  there  are  not  many 
radical  differences  in  meter. 

The  long,  common,  and  short  meters  are  closely 
related,  as  we  have  seen.  Now,  when  the  weak 
syllable  is  omitted  from  the  long  meter  line,  and  the 
stronger  "direct  attack''  is  made  we  get  the  7s  meter. 
Sometimes  alternate  lines  have  feminine  rhymes  (or 
double  syllables  that  rhyme).  Thus,  about  two  thirds 
of  our  8s  7s  hymns  rhyme  on  the  odd  lines  (double),  as 


LITEEAEY  BEAUTIES  OF  THE  HYMNS  163 

well  as  on  the  even,  as  'In  the  cross  of  Christ  I  glory'' 
(143),  while  the  other  one  third  end  in  an  unrhyming 
double  syllable.  'The  King  of  love  my  Shepherd  is" 
(136)  serves  as  a  rare  illustration  of  the  feminine 
rhymes  in  the  second  and  fourth  lines  of  the  stanza. 
Of  this  two-beat  rhythm  the  noblest  form  is  the  10s. 
Well  suited  to  heroics,  as  well  as  to  lofty  religious 
thought,  it  is  inappropriate  for  frivolous,  dainty,  or 
light  expressions.  Of  slightly  varying  forms  of  this 
meter  there  are  several  illustrations  in  the  Hymnal. 

Besides  the  ninety-one  meters  enumerated  in  the 
Index,  there  is  a  double  classification,  P.  M.,  called 
''Particular  Meter''  (or  "PecuHar  Meter,"  as  some 
have  it),  and  P.  M.  with  Refrain,  serving  as  a  sort  of 
wastebasket,  into  which  an  editor  can  throw  all  the 
meters  that  are  left  over.  For  this  reason  it  should 
have  been  placed  at  the  very  end  of  the  Metrical  In- 
dex, as  in  the  Hutchins,  Parker,  Tucker,  and  other 
hymnals.  The  purpose  of  a  metrical  index  is  to 
enable  a  pastor  or  choirmaster  to  quickly  choose  for 
any  given  hymn  a  different  tune  from  the  one 
to  which  it  is  set,  but  of  the  same  meter.  For  this 
particular  purpose  the  P.  M.  group  is  utterly  useless, 
and  it  is  surprising  that  no  hymnal  has  ever  labeled 
the  P.  M.  wastebasket  as  useless  in  that  respect, 
warning  us  that  hymns  under  this  heading,  far  from 
being  all  of  the  same  meter,  are,  in  fact,  none  of  them 
of  the  same  meter. 

Besides  the  inaccuracies  in  the  Metrical  Index, 
some  of  its  classifications  are  misleading.  In  this 
respect,  it  is  true,  our  Hymnal  is  following  the  bad 


164  MUSIC  AND  HYMNODY 


precedent  set  by  most  of  the  best  hymnals,  which 
should  some  day  be  overruled.  But,  who,  for  in- 
stance, cares  to  sing  ''Sweet  hour  of  prayer"  to  the 
tune  ''Contrast''?  They  have  the  same  number  of 
syllables,  and  are  both  classed  as  ''8s  Double";  but 
the  hymn  is  a  double  rhythm  and  the  tune  is  a  triple 
rhythm.  Who  would  sing  Kipling's  "Recessional"  to 
the  8.  8.  8.  Double  tune  "Nashville,"  even  though 
they  are  both  classed  as  "8s  6  lines";  or  "Welcome, 
happy  morning!"  to  the  tunes  of  "The  Lord  is  my 
Shepherd";  or  "Come  unto  me  when  shadows"  to  the 
tune  of  "True-hearted,  whole-hearted";  or  "Long 
years  ago  o'er  Bethlehem's  hill"  to  the  tune  "Bethle- 
hem"? And  yet  each  one  of  these  couples  is  grouped 
under  the  one  metrical  heading,  thus  defeating  the 
very  purpose  of  the  Metrical  Index. 

Apropos  of  this  last  tune,  beware  of  the  "Irregulars" 
in  this  Index!  Except  for  the  word  "Mary,"  Phillips 
Brooks's  poem,  to  which  our  tunes  "Bethlehem"  and 
"Saint  Louis"  are  set,  is  clearly  a  8.  6.  8.  6.  7.  6.  8.  6. 
hymn;  and  is  not  8s  6s  Double.  The  other  tunes 
under  this  heading  have  a  refrain.  "Amsterdam"  is 
not  irregular,  but  is  a  regular  7.  6.  7.  6.  7.  7.  7.  6. 
tune.  And  "Epiphany"  deserves  only  the  awkward 
metrical  title  "10.  11.  11.  11.  12.  11.  10.  11";  but  is 
regular  according  to  that  scheme. 

As  for  hymns  with  refrains,  both  "Paradise"  tunes 
use  refrains,  as  do  also  five  of  the  plain  P.  M.  tunes, 
although  "Beyond"  is  classed  under  "  P.  M.  with  Re- 
frain." It  might  be  advisable  for  a  hymnal  using  a 
score  of  hymns  with  refrains  to  group  these  together 


LITEKAEY  BEAUTIES  OF  THE  HYMNS  165 


under  a  note  that  they  are  not  interchangeable,  in- 
stead of  making  nearly  as  many  separate  metrical 
headings. 

There  is  a  class  of  genuinely  irregular  tunes  to  be 
found  among  the  nondescripts  of  P.  M.  Every  verse 
of  the  regular  meters  conforms  to  a  given  scheme ;  but 
the  verses  of  the  irregular  forms  are  mutually  incon 
sistent,  and  to  guide  the  singer  the  notes  of  the  music 
must  be  tied,  using  in  some  verses,  but  not  in  others, 
one  note  to  each  syllable.  This  we  see  in  the  tune 
''Elliott.''  But  in  singing  the  words  of  the  hymn, 
''Thou  didst  leave  thy  throne,''  a  congregation  is  very 
apt  to  become  confused  as  to  which  syllables  are  to  be 
sung  to  the  tied  notes.  As  it  is  written,  there  are  two 
ways  of  singing  either  the  first  or  the  second  lin^  of 
the  last  verse;  and  the  usual  confusion  at  this  point 
sometimes  not  only  confuses  a  congregation  but  in- 
evitably drives  them  to  a  painfully  false  accent.  The 
tune  "Gary"  fits  well  the  first  verse  of  "One  sweetly 
solemn  thought,"  but  compels  us  to  accent  the  ulti- 
mate of  each  bisyllabic  word  in  the  last  lines  of  the 
third  verse  with  ludicrous  effect : 

Near-er '  leav-ing '  the  cross, 
Near-er '  gain-ing '  the  crown. 

This  fault  is  intrinsic  in  the  irregularity  of  the  poetical 
meter,  although  R.  S.  Ambrose's  famous  melody  to 
these  words  avoids  this  difficulty  somewhat.  These 
irregularities  but  emphasize  the  fact  that  hyrim 
meters  should  be  confined  to  strict  limitations,  and  to 
be  successful  must  easily  yield  to  regular  scansion, 


166  MUSIC  AND  HYMNODY 


each  foot  containing  the  same  number  of  syllables  as 
the  corresponding  feet  in  other  verses. 

While  meter  and  emotional  expression  are  essential 
to  poetry,  the  meter  must  always  be  subordinate  to 
the  emotion.  To  inquire  into  the  emotional  fitness  of 
certain  meters  among  our  hymns  would  lead  us  too  far 
afield.  Let  one  illustration  suffice  to  mark  the  prin- 
ciple— the  appropriateness  of  the  more  active  three- 
beat  rhythm  to  joyous  themes.  There  are  but  few 
poems  in  the  Hymnal  using  the  three-beat  rhythm. 
The  twenty  hymns  whose  meter  is  composed  of  the 
various  combinations  of  6s  and  4s  are  all  reducible  to 
triple  rhythm,  such  as  ^ ^America''  and  '^More  love  to 
thee,  O  Christ.''  About  one  third  of  the  remaining 
hymns  of  this  rhythm  are  to  be  found  in  the  group  of 
hymns  expressing  the  joy  of  Christmas  time,  as 
'There's  a  song  in  the  air,"  which  sustains  the  triple 
beat  throughout;  ''In  the  field  with  their  flocks  abid- 
ing"; and  "Silent  Night,"  which  bears  only  a  gentle 
suggestion  of  this  rhythm.  Nearly  all  of  the  other 
tripl&-beat  hymns  in  the  Hymnal  express  a  joyous 
theme  in  this  joyous  rhythm,  as  "0  how  happy  are 
they,"  "True-hearted,  whole-hearted,'^  "Lift  your 
glad  voices,"  "Come,  let  us  anew  our  journey  pursue," 
"0  thou,  in  whose  presence  my  soul  takes  delight." 

Thus  emotion  and  rhythm  conspire  to  make  beau- 
tiful the  poetry  of  our  Hynmal. 


PART  III 

THE  TUNES 


167 


CHAPTER  VIII 


THE  STORY  OF  THE  TUNES  AND  THEIR 
COMPOSERS 

Early  Musical  History — Continental  Composers — Brit- 
ish Composers — American  Composers — New  Tunes — 
Relation  of  Some  Hymn  Tunes  to  Larger  Forms. 

The  story  of  the  hymn  tunes  has  not  been  told  so 
fully  as  the  story  of  the  hymns,  save  as  it  has  ap- 
peared incidental  to  the  general  history  of  music. 
Hymnology  has  called  forth  hundreds  of  volumes  to 
tell  its  story,  while  the  history  of  the  tunes  can  claim 
but  comparatively  few.  Nor  is  this  to  be  marveled  at, 
when  it  is  considered  that  hymn-writing  is  ancient,  but 
music  and,  consequently,  hymn-tune  writing  in  its 
developed  form  is  distinctly  a  modern  art. 

During  many  centuries  in  Europe  the  history  of 
music  was  simply  the  history  of  church  music.  This  was 
largely  true  also  of  early  American  music,  which  made 
its  first  progress  through  anthems  and  hymn  tunes, 
just  as  our  earliest  government  itself  followed  ecclesi- 
astical principles.  The  Methodist  Hymnal  contains 
melodies  from  nearly  every  important  period  and 
school  of  hymn-tune  writing,  as  we  shall  see  in  the 
illustrations  that  follow. 

Pope  Gregory  (A.  D.  590)  placed  the  imprint  of  his 
genius  upon  the  crude  musical  system  of  his  day  by 
adding  new  scales  or  modes  to  those  that  had  already 
been  devised  by  Saint  Ambrose,  and  by  reducing  the 

169 


170  MUSIC  AND  HYMNODY 


whole  to  a  more  logical  system.  As  a  result,  the 
Gregorian  tones  have  ever  since  been  the  foundation 
of  the  Roman  Catholic  Church  music.  Of  this  ancient 
Gregorian  plain-song  the  Methodist  Hymnal  contains 
little  else  besides  a  chant  drawn  from  one  of  the 
Gregorian  tones,  ''Nunc  Dimittis''  (733)  and  a  hymn 
tune  ''Olmutz''  (227),  arranged  from  the  Gregorian  by 
Lowell  Mason.  The  old  Latin  melody  (477),  based 
upon  five  adjacent  tones,  was  probably  derived  from 
the  Gregorian  music.  These  melodies,  now  clothed  in 
modern  harmony  and  rounded  with  a  modern  cadence, 
were  originally  sung  only  in  unison,  like  all  the  music 
of  this  early  homophonic  era.  The  popular  idea  that 
the  melody  "Crusader's  Hymn''  belongs  to  this  period 
is  incorrect. 

By  the  innovations  of  Hucbald  in  the  tenth  century, 
and  Guido  of  Arezzo  a  century  later,  both  of  them 
pious  monks,  sacred  words  came  to  be  sung  upon  two 
notes  at  the  same  time,  instead  of  only  one  as  before, 
and  from  this  the  harmony  developed  through 
successive  centuries  into  an  elaborate  polyphony 
(ttoAv 065vor,  having  ''many  tones"),  until  it  was 
simpUfied  and  perfected  by  the  genius  of  Palestrina 
(1524-94).  The  Palestrina  mass  is  still  the  model 
of  beauty  in  the  worship  of  the  Roman  Catholic 
Church  throughout  the  world. 

Until  the  Reformation,  church  music  was  entirely 
in  the  hands  of  the  clergy  and  their  trained  musicians. 
It  was  left  to  Martin  Luther,  assisted  by  the  musician 
Walther,  to  bring  worship  song  to  the  people  them- 
selves by  means  of  the  German  chorale,  simple  in 


THE  STOEY  OF  THE  TUNES  171 


melody,  strong  in  harmony,  and  set  to  the  familiar 
words  of  the  vernacular,  instead  of  the  Latin.  Hymn- 
singing  had  already  been  employed  to  a  limited  degree 
among  the  Bohemian  Brethren  and  other  sects;  but 
now  it  became  universal  throughout  the  Reformed 
Ohurch.  This  may  be  regarded  as  the  beginning  of 
the  modern  hymn  tune. 

Among  the  oldest  examples  of  the  German  chorale 
in  the  H3nimal  are  ''Ein'  Feste  Burg''  (101),  ascribed 
to  Martin  Luther;  ^^Munich''  (151),  rearranged  by 
Mendelssohn  from  an  old  chorale;  the  ^Tassion  Cho- 
rale'' (151)  of  Hans  Leo  Hassler  and  the  chorale  of 
Nicolaus  Decius,  of  which  we  have  two  arrangements, 
''Decius"  (93)  and  ^'St.  Peter"  (97).  The  German  com- 
posers of  the  seventeenth  century  followed  the  same 
general  style  of  chorale  writing  in  '^Nuremberg"  (103), 
by  Johann  Rudolf  Ahle  (1625-73);  ^^Nun  Danket" 

(30)  ,  by  Johann  Criiger  (1598-1662) ;  ^^Bremen"  (476), 
by  Georg  Neumark  (1621-81);  and  ''St.  Theodulph" 

(31)  ,  by  Mslchior  Teschner  (about  1613).  By  playing 
these  tunes,  even  amateur  musicians  can  easily  recog- 
nize the  elements  common  to  the  German  chorales, 
distinguishing  them  from  the  work  of  other  schools, 
by  a  dignity  of  movement  and  a  Doric  simplicity 
of  harmony,  expressing  a  calm  but  lofty  state  of  re- 
ligious feeling.  No  frivolous  verses  can  well  be  sung 
to  these  stately  measures,  no  thought  can  be  appro- 
priate, save  that  which  finds  deep  root  in  the  soul  life. 

Later  composers  have  given  to  us  genuine  chorales 
of  great  worth,  though  in  their  day  already  observing 
the  beginnings  of  a  different  type  of  hymn  tune.  The 


THE  STOKY  OF  THE  TUNES  1T3 

most  recent  of  these,  Arne  Oldberg,  a  living  American 
composer,  has  written  for  the  Methodist  Hymnal  in  the 
chorale  style  an  excellent  hymn  tune,  '^Gilder''  (14). 

The  great  composer  Handel  (1685-1759)  was  a 
master  in  writing  the  chorale.  The  six  hymn  tunes  in 
our  collection  from  his  pen,  however,  were  not  written 
as  chorales,  but  are  melodies  taken  from  his  larger 
works  (see  end  of  this  chapter),  rearranged  in  harmony, 
and  in  some  cases  so  changed  in  melody  that  we  could 
scarce  expect  the  composer  himself  to  recognize  them. 
The  great  German  master  musicians,  beginning  with 
Beethoven,  in  many  respects  the  greatest  of  them  all, 
on  through  the  brilliant  leaders  of  the  later  romantic 
school,  have  been  levied  upon  generously  for  our 
hymn  tunes.  We  thus  make  use  of  eight  melodies 
from  Beethoven,  four  from  Spohr,  six  from  Mendels- 
sohn, four  from  Haydn,  three  from  Weber,  two  from 
Schumann,  and  two  from  Mozart,  some  of  which 
have  been  traced  in  later  paragraphs  of  this  chapter 
to  their  original  sources. 

France  and  Geneva  played  an  important  part  in 
the  hymn  tunes  of  the  sixteenth  century.  Of  these  we 
have  '^Old  Hundred''  (16),  a  melody  that  has  reached 
the  widest  influence.  Its  authorship  is  unknown. 
It  is  supposed,  however,  to  have  been  adapted  to 
Beza's  version  of  the  one  hundred  and  thirty-fourth 
psalm  for  the  Genevan  Psalter,  1551,  from  a  popular 
melody  sung  in  France  to  the  words,  '11  n'y  a  icy 
celluy  qui  n'ai  sa  belle,''  and  in  Holland  to  the  words, 
'Ik  had  een  boelken  intercorem,  die  ik  met  Harten 
minne."    The  tune  'Tlemming"  (478)  was  also  taken 


174  MUSIC  AND  HYMNODY 


from  the  Genevan  Psalter,  but  its  composer,  Friedrich 
F.  Flemming  (1778-1813),  was  a  native  of  Neuhausen, 
Saxony.  Its  resemblance  to  Webbe's  '^Glorious 
Apollo''  has  been  noted  by  critics,  though  rarely 
provoking  the  charge  of  plagiarism.  From  Johann 
Georg  Naegeli  (1768-1836),  who  was  born  and 
died  in  Zurich,  Switzerland,  were  taken  "Dennis'' 
(100)  and  "Naomi"  (277).  The  former  appears  three 
times  in  the  Hymnal,  the  latter  four  times. 

Jean  Jacques  Rousseau  (1712-1778)  was  born  in 
Geneva,  but  through  his  brilliant  work  in  Paris,  be- 
ginning at  the  age  of  twenty-nine,  his  radical  writings 
on  music  and  his  vigorous  defense  of  the  principles  of 
the  French  Revolution,  France  may  justly  claim  him 
and  his  music,  from  which  we  derive  our  popular 
melody  "Greenville"  (39).  Of  later  French  tunes, 
characterized  by  a  charming  sweetness  of  melody,  we 
have  the  following  examples:  "Morning  Hymn"  (44), 
by  Frangois  Hippolyte  Barthelemon  (1741-1808); 
"Gilead"  (202),  by  Etienne  Henri  Mehul  (1763-1817); 
"Rutherford"  (614),  by  Cretien  D'Urhan  (1788-1845) ; 
"Messiah"  (348),  by  Louis  Joseph  Ferdinand  Herold 
(1791-1833);  "Radiant  Morn"  (566),  "Olney"  (696), 
and  a  chant  (738),  by  Charles  Frangois  Gounod  (1818- 
93),  one  of  the  great  names  in  the  history  of  music. 

From  England  has  come  by  far  the  largest  propor- 
tion of  our  hymn  tunes.  Thomas  Tallis,  or  Tallys,  the 
father  of  English  Cathedral  music,  was  born  some  time 
in  the  second  decade  of  the  sixteenth  century  and  died 
in  1585.  He  was  one  of  the  greatest  musicians  of  his 
age,  and  in  England  indisputably  the  greatest.  His 


THE  STOEY  OF  THE  TUNES 


1Y5 


most  valuable  legacy  to  succeeding  ages  was  the  per- 
fecting of  the  EngUsh  h3min  tune.  The  most  famous 
of  these  from  his  pen  is  in  our  collection  and  bears  the 
name  ''Evening  Hymn''  (49),  though  elsewhere  it  is 
more  often  known  as  'Tallis's  Canon.''  By  a  slow 
rhythm,  a  most  effective  contrapuntal  harmony,  and 
an  easily  flowing  melody  he  has  combined  solemn 
grandeur  with  delicate  beauty.  Its  form  as  a  canon 
may  be  observed  by  playing  the  tenor  part  beginning 
with  the  fifth  note,  from  which  point  the  tenor  sings 
the  very  same  melody  that  was  simg  by  the  soprano 
one  measure  previous,  thus: 


1   1    1  1= 

— 1 — \ — \ — r 

^  r 

— •  ^  0  # — 

r  r  r  f 

Melody 

J  J  J 

1   ^         -  • 

 •  

r  r  r  ' 

/  begins  here, 

1 J  J  J  J 1 

— ^- 

— r    r    r  " 

•  *  J 

r  r  r 
J-  J-  J 

-H*  P  

"^"T  r  r  1^ 

-t  r-'    J  ^  ^ 

-i^        i  f  r  

■#>  1  1  1 — 

-I  h  1  1  '  \  

r 

--  1      1      1     J      !      !      1  : 

W-;-t-^ 

 T  

:  ;    »  ' 

'  r  f 

^  r  r  f  r 

 p — 

■  r  1 

1  f  [.  r 

176 


MUSIC  AND  HYMNODY 


The  immediate  successors  of  Tallis  made  little  j 

advance  in  the  art  of  hymn  tunes;  and  their  work  in  \ 

the  Methodist  Hymnal  is  found  only  among  the  j 

chants,  No.  729,  by  Henry  Lawes  (1595-1662),  No.  I 

728,  by  Pelham  Humphrey  (1647-74),  No.  732,  by  j 

Thomas  Purcell,  the  greatest  English  musician  of  the  j 

seventeenth  century  (1623?-1682),  and  three  chants,  ; 

730  and  732,  by  Henry  Aldrich  (1647-1710).    The  one  | 

exception  to  this  is  the  hymn  tune  ^  ^Winchester  OW  ] 

(181)  by  George  Kirbye  (      -1634).  \ 

The  English  composers  of  the  eighteenth  century,  \ 

especially  those  of  the  first  fifty  years,  are  repre-  \ 

sented  in  our  Hymnal  by  stalwart  tunes  of  optimistic  j 

melodies  and  strong  radical  harmonies.    To  recognize  \ 

this  the  student  has  but  to  examine  ^'Hanover''  (11)  | 
and  the  great  ^^St.  Ann^'  (214)  by  William  Croft  (1878- 

1727) ;  'mrlow''  (8),  by  John  Chetham  (1685?-1760) ;  j 

'^All  Saints''  (215),  by  William  Knapp  (1698-1768),  j 

and  ^Mngton''  (354)  by  Thomas  A.  Arne  (1710-78).  ] 

The  famous  Henry  Carey  (1685-1743),  to  whom  is  \ 

attributed  our  ^'America''  (702),  belongs  to  this  I 

period.    J.  Christopher  Smith,  Handel's  secretary,  { 

attributes  also  to  Carey  the  original  words  of  this  ] 
tune,  ''God  save  our  gracious  King,''  as  it  was  first 
sung  in  1740  at  a  dinner  to  celebrate  the  capture  of 

Portobello.    Questioning  Carey's  title  as  composer  of  > 

the  tune,  successive  critics  have  traced  it  to  an  ''Ayre"  t 

by  Dr.  Jan  Bull,  1619;  a  Scotch  carol,  ''Remember,  0  'i 

thou  man,"  in  Ravenscroft's  "Melismata,"  1611;  a  \ 

ballad  of  1669,  "Frankhn  is  fled  away";  and  a  tune  ■ 

by  Henry  Purcell  for  harpsichord  or  spinnet,  1696.  ^ 


THE  STOKY  OF  THE  TUNES  177 


Nevertheless,  many  editors  still  give  the  credit  to 
Carey.  The  tune  was  adopted  as  the  Prussian  na- 
tional tune,  and  is  also  used  patriotically  in  Denmark. 

English  hymn-singing  fell  to  a  low  ebb  during 
the  middle  decades  of  the  eighteenth  century.  The 
Church  of  England  seemed  to  be  indifferent  to  the 
musical  demands  of  worship.  The  production  of 
hymn  tunes  became  weakly  imitative.  Congrega- 
tional singing  languished.  Though  contemporaries 
were  loath  to  admit  it,  there  is  no  question  but  that 
the  vigorous  musical  program  of  the  Wesleys  and  its 
popularity  among  the  people  at  large  produced  in- 
directly a  marked  improvement  in  the  musical  interest 
within  the  Established  Church.  From  the  work  of 
the  later  eighteenth  century  English  composers  we 
have  a  dozen  examples,  the  best  of  which  are  *^Duke 
Street'^  (5),  ^^Mornington'^  (45),  'Truro^'  (7),  ^^St. 
Stephen^'  (86),  ''St.  Martin's'^  (183),  and  "Amster- 
dam'' (623).  In  contrast  to  the  earlier  tunes  of  the 
century,  one  observes  in  these  later  melodies  a  much 
greater  variety  of  musical  rhythm  and  a  more  fre- 
quent use  of  two  or  more  notes  to  one  syllable,  which 
gave  greater  elasticity  but  less  solidity  to  the  melody. 
The  multiplying  of  many  notes  to  a  syllable  was  often 


tJ  1 

ex  - 

-—J— 

— ( — 

ult  - 
-0- 

-3t= 

ing  - 

-F- 

s- 

ly 

sing  

=^ 

— 

 t~ 

178  MUSIC  AND  HYMNODY 


carried  in  this  era  to  a  ridiculous  extreme.  A  faint 
suggestion  of  this  is  found  in  two  measures  of  the 
tune  ^^Avison''  (119),  which  bears  the  name  of  its 
composer  (circ.  1710-70). 

The  tune  ''Miller''  (17),  usually  known  as  ''Rocking- 
ham,'' and  sometimes  as  "Caton,"  was  adapted  by  Dr. 
Edward  Miller  (1731-1807)  from  an  older  tune,  "Tun- 
bridge."  His  psalm  books  sounded  the  knell  of  the 
old  style  psalm  tune  by  popularizing  better  and  more 
modern  melodies. 

Scotland's  musical  contribution  has  been  made 
through  psalm  tunes.  The  first  Scotch  psalter  (1564) 
was  largely  based  upon  tunes  brought  from  Geneva 
and  France  by  returning  exiles.  The  most  famous 
Scotch  psalter,  musically  speaking,  was  prepared 
by  Andro  Hart  in  1615,  and  from  this  we  get 
our  tune  "Dundee"  (96).  Its  old  title,  "French," 
and  its  majestic  movement  suggest  a  continental 
origin.  Robert  Burns  refers  to  it  in  "The  Cotter's 
Saturday  Night": 

Perhaps  Dundee's  wild,  warbling  measures  rise. 

"Caledonia"  (385),  the  stirring  war  song  mentioned 
in  another  chapter,  has  also  come  to  us  from  Scotland. 

Not  only  Scotland  but  Ireland  also  has  had  a  part 
in  the  making  of  British  hymn  music,  as  some  of  the 
composers  classed  as  English  were  born  in  Ireland, 
notably  the  Earl  of  Mornington  (1735-81),  Sir  Robert 
Prescott  Stewart  (1825-94),  and  William  V.  Wallace 
(1814-1865).  Few  composers  have  had  a  more 
world-wide  romantic  career  than  Wallace,  who  wrote 


THE  STOEY  OF  THE  TUNES 


179 


"Serenity"  (128),  ''We  may  not  climb  the  heavenly 
steeps.''  After  a  brief  musical  life  in  Ireland  he  wan- 
dered through  the  wilds  of  Australia,  escaping  death 
from  the  savages  only  by  the  intervention  of  the 
chieftain's  daughter,  and  at  last  winning  crude  musi- 
cal honors  there.  For  one  concert  he  was  paid  a 
hundred  sheep.  In  the  East  Indies  he  played  before 
the  Queen  of  Oude.  From  Valparaiso,  South  America, 
he  crossed  the  Andes  to  Buenos  Ayres.  At  Santiago 
game  cocks  were  the  price  of  admission  to  his  concert. 
Audiences  in  the  United  States  and  England  were 
captivated  by  his  playing,  and  soon  he  found  English 
publishers  for  his  operas  and  other  compositions, 
which  for  the  time  became  very  popular.  He  died  in 
the  Pyrenees. 

The  Welsh  people,  with  their  passionate  love  of 
music  and  rare  natural  excellence  in  singing,  have 
produced  many  wonderful  hynm-melodies.  The  Meth- 
odist Hymn  Book  of  England  has  preserved  some  of 
the  best  of  these;  but  not  so  our  American  Hymnal, 
probably  because  their  wild  flavor  is  ill  suited  to 
either  our  popular  taste  or  our  musical  traditions. 

Among  the  English  composers  of  the  nineteenth 
century  the  writing  of  hymn  tunes  attained  the  high- 
est excellence.  A  distinctive  style  of  tune-writing 
was  developed  from  the  beginning  of  the  century 
through  the  first  four  or  five  decades.  In  the  latter 
half  of  the  century,  however,  by  far  the  largest  pro- 
portion of  the  hymn  tunes  of  the  English  school 
appeared,  and  at  present  they  represent  the  most 
popular  type  of  tune  among  cultured  musicians  and 


180 


MUSIC  AND  HYMNODY 


authoritative  hymn-book  makers.  For  the  best 
musical  results  the  English  tune  must  be  sung  faster 
than  the  German  chorale,  or  even  the  Scotch  psalm 
tune.  This  may  be  explained  partly  by  the  fact  that 
they  were  written  largely  by  organists,  who  were 
accustomed  to  play  hymns  faster  than  their  ancestors. 
On  the  other  hand,  they  are  ruined  by  such  a  giddy 
tempo  as  that  which  is  necessary  for  the  decadent 
revival  melody  with  chorus,  which  has  thrived  con- 
temporaneously with  the  modern  English  tunes. 
Four-four  time  with  even  quarter  notes  (or  half  notes 
in  the  English  books)  characterizes  a  large  proportion 
of  these  tunes,  though  many  of  them  displaj^  a  remark- 
able variety  in  rhythm  (as  ^^Lux  Benigna'O. 

Of  the  earlier  nineteenth  century  composers  of  this 
school  the  most  prominent  represented  in  our  Hymnal 
were  Edward  Hodges  (1796-1867),  one  of  our  times 
by  him  being  ''Habakkuk''  (368,  etc.);  Henry  John 
Gauntlett  (1806-76),  whose  three  different  tunes  in 
the  Hymnal  are  not  so  popular  as  many  others  that  he 
wrote;  James  Turle  (1802-82),  who  wrote  ''St.  John's, 
Westminster^^  (550),  ' 'Westminster' '  (700),  and  a 
chant  (733),  all  marked  by  a  strong  style  of  harmony 
and  an  unusual  succession  of  chords;  and  Samuel 
Sebastian  Wesley  (1810-76),  the  grandson  of  the  great 
Charles  Wesley,  "Aurelia''  being  the  best  known  of  our 
times  by  him.  The  Wesley  family  contained  many 
able  musicians.  Charles  Wesley  was  the  most  profi- 
cient among  those  at  Epworth  Rectory.  His  two 
sons,  Charles  and  Samuel,  attained  a  considerable  emi- 
nence in  the  musical  world.   The  latter  was  a  prolific 


THE  STOEY  OF  THE  TUNES  181 


composer.  His  eldest  son,  the  Rev.  Dr.  Charles 
Wesley,  edited  an  anthem  collection,  and  his  third 
son,  Samuel  Sebastian  (referred  to  above),  became  the 
greatest  composer  and  for  a  time  the  best  organist  in 
the  Church  of  England. 

There  were  five  great  leaders  of  the  modern  English 
school,  whose  names  attached  to  hymn  tunes  are 
nearly  always  a  guarantee  of  imusual  excellence. 
They  are  (in  the  order  of  their  birth)  Smart,  Dykes, 
Barnby,  Stainer,  and  Sullivan.  These  men  were  all 
active  in  varied  fields  of  English  music,  but  in  the 
realm  of  church  music  worked  toward  a  common  end, 
the  production  of  hymn  tunes  that  would  meet  the 
popular  taste  without  sacrificing  a  high  standard  of 
excellence.  Henry  (Thomas)  Smart  (1813-79)  wrote 
cantatas,  part-songs,  and  compositions  for  the  organ, 
of  which  instrument  he  was  a  master  player.  His 
blindness  in  1864  was  a  serious  handicap,  but  did  not 
keep  him  from  composing.  His  tunes  possess  charm- 
ing melody  and  effective  harmonic  treatment.  The 
Rev.  John  Bacchus  Dykes  (1823-76),  the  Vicar  of 
Saint  Oswald,  Durham,  was  noted  as  a  theologian  and 
a  musician.  His  distinction  lies  in  his  wonderful  abil- 
ity to  express  the  spirit  and  thought  of  the  hymn  in  its 
tune,  although  Grove  refers  slightingly  to  his  ^'rather 
sentimental  style  of  harmonization.'^  He  and  Lowell 
Mason  are  exceeded  only  by  Barnby  in  the  number 
of  hymn  times  in  our  Hymnal.  Sir  Joseph  Barnby 
(1838-96),  a  great  conductor  and  organist,  was  the 
narrowly  defeated  rival  of  Sir  Arthur  Sullivan  for 
musical  honors  at  the  Royal  Academy  of  Music.  He 


182  MUSIC  AND  HYMNODY 


edited  five  hymnals  and  wrote  two  hundred  and  forty- 
six  hymn  tunes,  popular  in  style  and  very  sweet  in 
melody.  Sir  John  Stainer  (1840-1901),  the  noted 
musical  scholar,  excelled  mostly  as  an  organist.  His 
writings  on  music  and  his  hymn  tunes  display  sound 
learning  and  artistic  taste.  Sir  Arthur  Sullivan 
(1842-1900)  is  best  known  to  the  world  through  his 
light  operas,  on  which  he  collaborated  with  the  cele- 
brated librettist,  W.  S.  Gilbert.  In  his  church  music, 
embracing  a  cantata,  ^The  Light  of  the  World,''  and 
many  hymn  tunes,  he  affects  a  pleasing  tunefulness, 
strengthening  it  throughout  with  good  counterpoint. 
His  martial  tune  to  ''Onward,  Christian  soldiers,''  is 
universally  popular. 

Contemporaneous  with  these  five  leaders  were  many 
other  composers,  who  wrought  in  much  the  same  gen- 
eral style.  The  ''Gloria  Patri,"  by  Henry  W.  Greatorex 
(1816-57),  one  of  his  five  tunes  in  the  Hymnal,  is  be- 
coming as  popular  in  Methodist  worship  as  that  by 
Charles  Meineke.  Of  the  three  times  of  Sir  George 
Job  Elvey  (1816-93),  "Diademata"  (179)  and  "St. 
George's  Windsor"  (636)  are  widely  used.  We 
have  five  hymn  tunes  and  two  chants  from 
Edward  John  Hopkins  (1818-1901),  among  them 
"Ellers"  (38),  "St.  Athanasius"  (77),  and  "St.  Leon- 
ard" (472),  all  of  them  melodious  in  a  most  winsome 
way.  From  Richard  Redhead  we  have  only  one 
tune,  "Gethsemane"  (280);  though  his  tunes,  always 
strong  and  usually  interesting,  are  worthy  of  a  larger 
place  in  Methodist  music.  His  distinctive  style  is 
marked  by  plain  simplicity  of  harmony,  and  often 


THE  STOKY  OF  THE  TUNES 


183 


by  the  effective  repetition  of  the  first  phrase  at  the 
end  of  the  tune.  Sir  Henry  W.  Baker  (1821-77)  wrote 
our  plaintive  melodies,  '^Stephanos''  (293)  and  ''Hes- 


ORIGINAL  FORM  OF  THE  TUNE  "  EWING 


r 


i — ^ — d- 


i  hgj — ^— # 


if — P — F- 


-p  1 — ■■ — ^  m — » — I  H 


1 — h 


EE 


-i— # 


.(22- 


F J   J    N  *l| 



184  MUSIC  AND  HYMNODT 


perus"  (372),  though  they  were  harmonized  by  Monk. 
'^Eventide"  (50),  as  sung  to  ^'Abide  with  me,''  has  be- 
come the  most  popular  of  our  four  tunes  by  WiUiam 
Henry  Monk  (1823-89).  The  time  originally  written 
to  ''Abide  with  me"  by  the  Rev.  Henry  Francis  Lyte, 
author  of  the  words,  when  near  his  death,  has  become 
almost  forgotten.  Monk's  adaptation  of  Peter  Rit- 
ter's  (1760-1846)  old  German  chorale  ''Hursley"  (47) 
to  the  words  ''Sun  of  my  soul"  is  known  to  every 
churchman. 

Our  one  tune  from  Alexander  Ewing  (1830-95), 
named  for  its  composer  "Ewing"  (612)  and  sung  to 
"Jerusalem  the  golden,"  is  of  unusual  strength  both  in 
melody  and  harmony.  Originally  it  was  written  in 
three-two  time,  and  therefore  with  an  entirely  differ- 
ent rhythm  from  the  modern  fashion  of  singing  it. 
The  changes  to  our  present  version  were  not  sanc- 
tioned by  the  composer,  even  though  they  have  been 
by  hymnal  editors  and  by  popular  usage.  The  com- 
poser said  of  the  tune  in  its  new  form,  "It  now  seems 
to  me  a  good  deal  Hke  a  polka."^  One  needs  but  to 
sing  the  words  in  the  first  line  of  each  verse  to  see  how 
admirably  the  melody  is  in  accord  with  the  words, 
while  the  counterpoint  of  bass  against  soprano  will  be 
foimd  to  be  excellent.  A.  L.  Peace  (1844-  )  has 
given  us  two  melodies,  one  of  them  "Margaret"  (481) 
sung  to  George  Matheson's  "0  Love,  that  wilt  not  let 
me  go"  being  less  characteristically  English  than  the 
other,  "Green  Hill"  (314,  etc).    The  popularity  of  the 


iCf.  "Hymn  ;Tunes  and  their  Story,"  by  James  T.  Lightwood.  Pub- 
lished by  Charles  H.  Kelly,  London,  1905. 


THE  STOEY  OF  THE  TUNES 


185 


tune  ^'Margaret"  is  probably  due  to  its  adaptability  to 
these  wonderful  words,  catching  the  spirit  of  yearn- 
ing love  in  the  rhythmic  suspensions  on  the  half 
notes. 

Arthur  H.  Mann  (1850-  )  wrote  four  of  our 
tunes,  the  best  known  being  AngeFs  Story  (350) .  All 
of  these  great  exponents  of  the  modern  English  hymn 
tune,  that  we  have  cited,  were  organists  in  English 
churches  with  the  possible  exception  of  Baker,  who 
was  a  clergyman.  "Bentley^'  (454),  ^'Christ  Church'' 
(178),  and  "Nativity"  (108)  are  among  the  other 
excellent  tunes  from  this  great  English  school  not  in- 
cluded in  the  work  of  the  composers  already  men- 
tioned. 

Sir  Frederick  Bridge,  since  1875  organist  in  West- 
minster Abbey,  the  musical  editor  of  the  Methodist 
Hymn  Book,  is  represented  in  our  Hymnal  only  by 
"Olney''  (696),  which  he  arranged  from  Gounod, 
though  he  has  written  many  strong  hymn  tunes  of  his 
own.  For  his  hymn  book,  and  at  his  request,  a  truly 
wonderful  musical  setting  of  Charles  Wesley's  last, 
deathbed  poem,  "In  age  and  feebleness  extreme,"  was 
written  by  Sir  Charles  Hubert  Hastings  Parry,  who  is 
called  by  Grove  "the  most  important  figure  in  musical 
art  since  the  days  of  Purcell."  This  has  been  wisely 
included  in  our  own  Hymnal,  "Marylebone"  (746). 
When  the  Tune  Committee  of  the  English  Methodist 
Hymn  Book  referred  this  hymn  to  the  musical  editor, 
Sir  Frederick  Bridge  said:  "This  is  one  of  your  treas- 
ures. Any  church  might  be  proud  to  possess  a  Httle 
hymn  with  such  a  history,  and  in  itself  so  beautiful. 


186  MUSIC  AND  HYMNODY 


Let  me  ask  my  friend,  Sir  Hubert  Parry,  to  compose  a 
tune  for  it.  It  is  just  such  a  hymn  as  will  appeal  to 
his  genius/'  Thus  came  to  be  written  one  of  the  most 
precious  musical  gems  of  our  collection. 

We  have  cited  the  German,  French,  Swiss,  and 
British  composers  at  some  length.  Other  European 
nations  have  had  a  part  in  making  our  tunes,  though 
it  has  not  been  sufficiently  strong  to  give  us  a  flavor 
of  their  respective  schools.  From  Italy  comes  the 
'^Italian  Hymn''  (2),  by  Felice  de  Giardini  (1716-96), 
the  widely  traveled  violinist,  who  died  in  Russia. 
''Vigil"  (625)  was  taken  from  Giovanni  Paisello  (1741- 
1816),  while  ^mnoah"  (105)  and  ^^Linwood"  (496) 
are  attributed  to  the  Italian  operatic  composer, 
Gioachino  A.  Rossini  (1792-1868).  Our  former 
hymnals,  both  North  and  South,  contained  the  tune 
' 'Sicilian  Mariners,"  which  to  this  day  is  sung  by  the 
gondoliers  in  Venice  on  Saint  Mary's  Day  to  the 
words,  ''0  Sanctissima,  0  Purissima." 

Russia  has  yielded  ''St.  Petersburg"  (134),  by 
Dimitri  Stepanovich  Bortnianski  (1752-1825),  who 
reduced  Russian  church  music  to  systematic  order; 
and  the  inspiring  national  air,  "Russian  Hymn"  (707), 
by  Alexis  Feodorovitch  Lvov,  or  Lwoff  (1799-1870). 
Bishop  Daniel  A.  Goodsell  has  described  to  the  writer 
the  thrilling  effect  upon  a  throng  of  listeners  on  the 
shore  at  Portsmouth,  as  they  heard  this  grand  hymn 
played  at  night  by  the  naval  bands  on  board  the 
Russian  warships,  which  had  just  come  to  America 
during  our  Civil  War  to  assert  the  sympathy  of  their 
nation  with  our  republic,  then  in  controversy  with 


THE  STOEY  OF  THE  TUNES  187 


European  nations  over  the  belligerency  of  the  Con- 

federate  States.  ] 

^'Austria''  is  the  Austrian  national  hymn,  written  | 

by  Haydn,  whom  we  have  already  classed  among  the  \ 

German  composers.    It  is  probably  the  only  melody  ] 

intentionally  composed  for  a  national  air  that  has  | 

been  officially  adopted.    Ignaz  Joseph  Pleyel  (1757-  ] 

1^    1831),  who  wrote  ^TleyeFs  Hymn'^  (35),  was  also  \ 

native  of  Austria,  though  like  Haydn,  whose  pupil  he  \ 

was,  he  belongs  to  all  Germany.    Berthold  Tours  j 

(1838-97),  composer  of  ^^Rotterdam"  (164),  ^^Gouda"  j 

(447),  and  ''De venter''  (708),  was  born  in  Holland,  but  I 
after  1861  his  career  was  centered  in  London. 

Each  one  of  the  American  composers  contributing  to  ] 

our  present  collection,  born  in  the  eighteenth  century,  | 

except  Hastings  and  Mason,  has  given  to  our  Hymnal  i 

only  one  hymn,  each  being  fairly  characteristic  of  | 

the  style  of  this  period.    They  are  as  follows:   ^^St.  ' 

Thomas''  (22),  by  Aaron  Williams  (1731-76),  not  j 

excelled  in  this  group:   ''Lenox"  (294),  by  Lewis  | 

•     Edson  (1748-1820);  'Tillmore"  (310),  by  Jeremiah  \ 

Ingalls  (1764-1828);  ''Coronation"  (180),  by  Oliver  j 

Holden^  (1765-1844),  who  also  wrote  the  words  of  the  1 

hymn,  "They  who  seek  the  throne  of  grace"  (515);  \ 
"Communion"  (146),  by  Stephen  Jenks  (1772-1856), 
to  which  we  sing  "Alas!  and  did  my  Saviour  bleed"; 


1  Oliver  Holden,  a  self-taught  musician,  was  bred  to  the  carpenter's 

trade.    "The  little  pipe  organ,  on  which  tradition  says  he  struck  the  6rst  ! 

notes  of  the  famous  tune,  is  now  in  the  historical  rooms  of  the  Old  State  \ 

House,  Boston,  placed  there  by  its  late  owner,  Mrs.  Fanny  Tyler,  the  old  i 

musician's  granddaughter." — "The  Story  of  the  Hymns  and  Tunes,"  by  3 

Theron  Brown  and  Hezekiah  Butterworth.  I 


188 


MUSIC  AND  HYMNODY 


'Woodland''  (609),  by  Nathaniel  Duren  Gould 
(1781-1864);  ^'Armenia''  (553),  by  Silvester  Billings 
Pond  (1792-1871);  '^Duane  Street''  (306),  the  tune  of 
irresistible  rhythm,  by  a  former  editor  of  the  New 
York  Christian  Advocate,  the  Rev.  George  Coles 
(1792-1858);  ^^Martyn"  (463),  by  Simeon  Butler 
Marsh  (1798-1875);  ^^Holley"  (74),  by  George  Hews 
(1800-85);  and  'federal  Street"  (271),  by  Henry  K. 
Oliver  (1800-85).  The  four  tunes  by  Thomas  Hast- 
ings (1784-1872)  are  ^^Zion"  (91),  ^^Ortonville"  (135), 
'Toplady"  (279),  and  '^Retreat"  (495).  The  student 
of  hymn  tune  history  would  find  it  profitable  to  play 
over  each  of  these  tunes,  and  observe  their  charac- 
teristics as  a  class. 

The  foremost  name  in  the  middle  period  of  Ameri- 
can hymn  tunes  is  that  of  Lowell  Mason  (1792-1872), 
who  became  famous  as  the  advocate  of  the  Pesta- 
lozzian  system,  the  founder  of  the  Boston  Academy 
of  Music,  and  the  editor  of  a  whole  library  of  hymn 
books  that  brought  him  a  fortune.  In  these  works  he 
adapted  to  hymn  words  many  melodies  from  secular 
sources,  dressing  them  in  dignified  form  for  church 
uses.  Besides  this  he  wrote  several  hundred  hymn 
tunes  that  have  met  with  wide  favor.  Hubert  P. 
Main  has  said  of  Mason's  melodies  that  their  "simplic- 
ity, sincerity,  and  appropriateness  to  their  use  will 
preserve  them  for  a  generation  to  come."  In  our 
Methodist  Hynmal  twenty-nine  of  his  tunes  are  used 
to  fifty  of  our  hymns.  There  is  hardly  an  American 
hymnal  of  good  musical  rank  but  contains  some  of  his 
melodies.    In  England,  however,  many  of  the  best 


THE  STOKY  OF  THE  TUNES  189 

hymnals  use  scarcely  any  of  his  tunes.  Already  in  the 
present  Methodist  Hymnal  the  inevitable  process  of 
selection  has  decreased  the  number  of  Mason's  hymns 
from  sixty-eight  in  the  Methodist  Episcopal  Hymnal 
and  nearly  a  hundred  in  the  Methodist  Episcopal 
Church,  South,  Hjmmal  to  only  fifty  (including  dupli- 
cates) in  the  present  Hymnal,  and  probably  the  next 
revision  will  show  an  even  greater  decrease. 

Our  seven  tunes  from  George  Kingsley  (1811-84), 
'^Newbold^'  (24),  ^Tappan'^  (99),  ^^Boardman^'  (129), 
"Ferguson''  (172),  "Heber"  (424),  ^^Elizabethtown" 
(546),  and  "Frederick"  (584),  have  enjoyed  a  great 
popularity,  especially  the  last  of  these  to  the  words, 
"I  would  not  live  alway."  Of  these  the  first  three 
have  been  musically  deserving  of  favor.  "Rathbun" 
(143),  by  Ithamar  Conkey  (1815-67),  has  remarkably 
caught  the  spirit  and  accent  of  the  words,  "In  the 
cross  of  Christ  I  glory.'' 

Luther  0.  Emerson  (1820-  )  wrote  "Sessions" 
(342),  known  as  the  "tune  with  a  slur,"  which  is 
widely  used  through  the  South  and  West  to  the  long- 
meter  Doxology.  He  has  graciously  sent  us  an 
accoimt  of  how  the  tune  came  to  be  written,  a  part  of 
which  we  repeat  to  illustrate  the  devout  methods  of 
some  composers : 

"In  the  year  1847  I  was  living  in  the  city  of 
Salem,  Massachusetts.  One  pleasant  summer  Sab- 
bath day  after  returning  from  church,  being  alone 
in  my  house,  I  took  up  my  hymn  book,  and  on  opening 
it  my  eyes  fell  upon  the  hymn  beginning  'Sinner,  0 
why  so  thoughtless  grown?'    My  attention  was  at 


190  MTJSIO  AND  HYMNODY 


once  fixed  upon  it.  I  read  the  whole  hymn  through 
several  timeS;  and  the  impression  it  made  upon  me 
grew  stronger  and  stronger  at  each  repetition.  I  had 
a  longing  to  give  expression  in  some  way  to  my  emo- 
tions. After  a  season  of  prayer,  I  went  to  the  piano 
and  at  once  played  the  tune  just  as  it  came  to  me. 
There  w^as  no  hesitancy  about  it,  no  effort  made.  It 
w^as  all  done  in  a  minute.  I  played  it  again  and  again, 
and  felt  at  the  time  it  had  life-giving  power,  and  would 
live.^' 

An  interesting  phenomenon  of  American  hymn 
tunes  has  been  the  gospel  song  of  the  nineteenth 
century.  Lively  in  rhythm,  simple  in  harmony  to  the 
point  of  the  commonplace,  the  bass  sometimes  strum- 
ming through  many  measures  upon  one  or  two  notes, 
while  the  melody  does  the  same,  or  gallops  across  the 
sweet  intervals  of  a  sentimental  melody — with  these 
characteristics  the  tunes  of  the  gospel  songs  have 
caught  the  popular  fancy  and  become  an  important 
factor  in  the  music  of  evangelism.  The  gospel  song 
has  had  many  exponents,  the  best  of  which  have  been 
levied  upon  for  the  Methodist  Hymnal. 

The  eldest  of  these  was  William  Batchelder  Brad- 
bury (1816-68),  who  wrote  ten  of  our  tunes.  His 
^^Sweet  Hour  of  Prayer''  (516),  ^^He  Leadeth  Me'' 
(489),  ^^Even  Me"  (346),  ^^Bradbury"  (677),  and  ^The 
Solid  Rock"  (330)  are  among  the  best  of  this  type.  His 
^^Woodworth"  (272),  written  more  in  the  style  of  his 
predecessors,  though  endeared  through  long  associa- 
tion with  ^^Just  as  I  am  without  one  plea,"  must 
eventually  give  way  to  Barnby's  richer  tune  '^Dun- 


THE  STOEY  OF  THE  TUNES 


191 


stan/'  which  is  given  precedence  in  tTie  Hymnal. 
"Converse''  (551),  by  Charles  Crozat  Converse  (1834- 
)j  lawyer,  philologist,  musician,  is  sung  to  '^What  a 
friend  we  have  in  Jesus,''  and  has  most  of  the  merits 
without  the  disadvantages  of  the  gospel  song. 

Robert  Lowry  (1826-99),  a  Baptist  clergyman  who 
died  in  Plainfield,  New  Jersey,  composed  the  music  of 
''Something  for  Jesus^'  (349),  ''One  More  Day's  Work 
for  Jesus"  (419),  and  "I  Need  Thee  Every  Hour" (506), 
to  which  last  he  wrote  also  the  words  of  the  chorus. 
William  Howard  Doane  (1832-  ) ,  a  successful  man- 
ufacturer, wrote  "More  love  to  thee"  (317),  "Pass 
me  not"  (329),  "Every  Day  and  Hour,"  (490), 
"Precious  Name"  (508),  and  "Rescue  the  Perishing" 
(697).  Ira  David  Sankey  (1840-1908),  D.  L.  Moody's 
musical  lieutenant,  adapted  "Tell  It  Out"  (634).  If 
the  reader  will  examine  the  successive  tunes  of  these 
gospel  song  composers,  he  can  plot  the  curve  of  the 
modern  American  prayer-meeting  tunes,  as  it  pro- 
ceeds from  the  more  dignified  rhythm  of  church  music 
to  the  "catchy,"  lively  jingle  of  the  popular  ballad. 
George  Coles  Stebbins  (1846-  ),  a  coeditor  with 
Sankey  of  the  famous  "Gospel  Hymns,"  has  given  us 
good  examples  of  both  styles  in  his  "Evening  Prayer" 
(55)  and  "True-hearted,  Whole-hearted"  (420).  John 
H.  Stockton,  William  G.  Tomer,  and  Mrs.  Joseph  F. 
Knapp  have  each  given  us  one  gospel  song.  Natur- 
ally, the  editors,  in  admitting  this  style  of  music  to  the 
Hymnal,  have  chosen  the  best,  and  have  avoided  the 
almost  innumerable  collections  of  words  and  tunes, 
many  of  which  ought  never  to  be  used  in  divine  wor- 


192 


MUSIC  AND  HYMNODY 


ship.  While  the  admission  of  "gospel  tunes''  lowers 
the  purely  musical  standards  of  the  Hymnal,  it  makes 
the  book  more  adaptable  to  the  evangelist. 

The  last  half  of  the  nineteenth  century  has  given  us 
some  hymn  tunes  from  American  composers  that  are 
used  in  the  best  hymnals,  such  as  our  tunes,  ''St. 
Louis''  (121),  by  Lewis  Henry  Redner  (1831-  ); 
''National  Hymn"  (704),  by  George  W.  Warren  (1828- 

92)  ,  which  was  written  for  the  Centennial  in  1876;  and 
"Festal  Song"  (413),  by  William  Henry  Walter  (1825- 

93)  ,  all  three  of  them  prominent  organists.  "Cary" 
(620)  was  arranged  by  Eben  Tourjee  (1834-91),  the 
father  of  musical  conservatories  in  America,  who  was 
employed  as  a  musical  expert  in  preparing  the  1878 
Methodist  Episcopal  Hymnal.  His  daughter,  Lizzie 
S.  Tourjee  (1858-  ),  now  Mrs.  Estabrook,  wrote  the 
stately  "Wellesley"  (98),  to  which  we  sing,  "There's  a 
wideness  in  God's  mercy." 

The  tunes  written  especially  for  the  Methodist 
Hymnal  are  generally  of  a  high  musical  order.  One 
critic  indiscriminately  dooms  them  all  to  unpopularity. 
Time  only  can  decide  on  this  point.  Many  of  them 
are  already  in  frequent  use.  Whatever  may  be  their 
fate,  they  are  as  a  class  musically  well  written,  melo- 
dious in  the  soprano,  and  strongly  constructed  in 
harmony  and  counterpoint.  Most  of  them  follow 
English  models. 

More  tunes  were  written  by  the  musical  editors  than 
all  the  new  tunes  by  other  composers  combined,  Peter 
C.  Lutkin  contributing  twenty  and  Karl  P.  Harrington 
twelve.    Some  of  these  tunes  are  mentioned  in  the 


THE  STOEY  OF  THE  TUNES 


193 


next  chapter.  Mr.  Lutkin  wrote  the  Choral  Blessing, 
'The  Lord  Bless  You  and  Keep  You''  (748)  with  an 
elaborate  contrapuntal  sevenfold  Amen,  as  a  farewell 
to  William  Smedley,  choirmaster  at  Saint  James 
Protestant  Episcopal  Church,  Chicago.  It  was  sung, 
all  kneeling,  after  the  benediction  without  Mr.  Smed- 
ley's  prevoius  knowledge.  Both  Lutkin's  ^'Belle- 
ville'' and  Harrington's  'Talm  Sunday"  were  written 
on  the  railroad  train. 

Next  to  these  in  the  number  of  new  tunes  comes 
Alfred  G.  Wathall,  the  composer  of  the  recently 
popular  comic  opera,  ^The  Sultan  of  Sulu,"  who  was 
born  in  England  in  1880  and  is  a  graduate  of  North- 
western University.  In  writing  for  the  Hymnal  he 
has  achieved  a  new  record  for  speed;  for  all  of  his 
seven  hymn  tunes  were  written  within  an  hour,  and, 
furthermore,  they  were  the  first  hymn  tunes  he  had 
ever  written.  Individual  tunes  have  been  written 
within  a  short  time.  The  tune  to  ''Abide  with  me" 
was  written  by  Monk  in  ten  minutes,  and  Dr.  Dykes's 
''Lux  Benign  a"  for  "Lead,  kirtdly  Light,"  came  to  him 
within  a  very  few  minutes  while  walking  down  the 
Strand  in  London  in  August,  1865.  But  Mr.  Wathall 
holds  the  record. 

"Puritan"  (713)  was  written  during  a  summer  vaca- 
tion in  1904  at  South  Manchester,  Connecticut,  by 
Henry  M.  Dunham  (1853-  ),  a  prominent  organist, 
organ  composer,  and  distinguished  teacher  in  the  New 
England  Conservatory.  He  was  born  in  Brockton, 
Massachusetts,  July  27,  1853. 

Of  his  own  tune,  "Holmfirth"  (611),  the  Rev.  Dr. 


194  MUSIC  AND  HYMNODY 


Benjamin  Gill  writes:  ^The  hymn  had  always  been  a 
great  favorite  of  mine.  Two  years  before  I  had  lost 
the  dear  partner  of  my  life,  who  had  walked  with  me 
for  thirty  years  and  more.  The  tune  was  written  at 
once,  and  sang  itself  out  of  a  yearning  heart.''  One 
of  the  members  of  the  Hymnal  Commission  wrote 
about  this  tune  in  a  letter:  ^'It  sounds  like  Ben,  and 
all  good,  old,  strong,  true  things — like  old  times,  and 
like  the  hope  of  better  new  times.    Nicht  wahr?" 

The  tune  "Shortle"  (664)  was  written  June  27, 
1904,  by  Charles  G.  Goodrich,  organist,  composer 
and  professor  of  modern  languages  at  Marietta 
College.  He  was  bom  in  Waterbury,  Connecticut, 
September  19,  1869,  and  graduated  from  Wesleyan 
Academy,  '89,  and  Wesleyan  University,  '93. 
"Crimea"  (124),  originally  set  to  the  words, 
"My  God,  how  endless  is  thy  love,"  was  com- 
posed in  Martland  in  1901  by  Thoro  Harris,  an 
editor  of  sacred  music,  who  was  born  in  Wash- 
ington, D.  C,  March  31,  1874.  William  H.  Pontius 
(1860,  Circleville,  0.),  composer  of  "Eighmey" 
(412)  and  "Holy  Hill"  (13),  is  director  of  the 
Department  of  Music,  Minneapolis  School  of  Music. 

The  "Sanctus  No.  2"  (741)  was  written  for  the 
choir  of  Saint  James  Methodist  Episcopal  Church, 
New  York  city,  in  1894;  and  "Washington"  (444)  was 
composed  at  the  Centenary  Collegiate  Institute, 
Hackettstown,  New  Jersey,  in  1898,  to  the  words 
"Abide  with  me,"  but  was  revised  several  years  later 
and  set  to  the  different  rhythm  of  "My  Father  knows 
my  every  need"  for  the  Hymnal.    But  the  commission 


THE  STOEY  OF  THE  TUNES  195 

dropped  these  words  from  the  book,  and  the  tune  was 
finally  set  to  ^^My  hope,  my  all,  my  Saviour  thou/' 

The  Rev.  Dr.  Lorin  Webster  (Claremont,  N.  H., 
July  29,  1857-  ),  who  graduated  from  Saint 
Paul's  School,  Concord,  76,  from  Trinity  College, 
'80,  and  from  Berkeley  Divinity  School,  '83,  is 
rector  of  Holderness  School  (New  Hampshire).  His 
account  of  his  composing  of  ^^Service"  (414)  and 
'^Ruth"  (492)  is  well  worth  quoting:  ^'I  can  never 
think  deeply  about  the  meaning  of  a  hymn  without 
having  a  musical  interpretation  of  it  come  to  my 
mind  and  soul  expressing  my  emotions  from  the 
sentiment  of  the  words.  And  so  these  hymns  soon 
aroused  in  my  mind  a  conception  of  their  meaning  in 
both  melody  and  harmony.  Frequently,  after  the 
first  draft  of  a  hymn,  I  change  the  harmony  to  give  a 
certain  part  a  more  pleasing  progression  or  to  conform 
the  writing  to  the  laws  of  harmony  and  musical  form, 
and  I  did  so  in  composing  these." 

Of  the  other  composers  writing  especially  for  the 
Hymnal  a  few  should  be  observed.  Dr.  Maro  L. 
Bartlett  (Brownhelm,  0.,  October  25,  1847-  ), 
teacher,  musical  conductor,  and  author  of  several 
books  on  music,  is  the  director  of  the  Des  Moines 
(Iowa)  Musical  College.  Mrs.  Emma  Louise  Ashford, 
nee  Hindle  (Delaware,  1850-  ),  is  the  wife  of  Pro- 
fessor Ashford,  who  for  over  a  score  of  years  has  been 
on  the  faculty  of  Vanderbilt  University  (Nashville, 
Tenn.).  As  an  organist,  composer  of  eight  sacred 
and  two  secular  cantatas,  fifty  songs  and  forty  piano 
pieces,  and  an  editor  of  three  musical  periodicals,  she 


196  MUSIC  AND  HYMNODY 


has  become  known  to  a  large  circle  of  church  musi- 
cians. John  W.  Baume  (Halifax,  England,  December 
15, 1862-  ) ,  from  a  stanch  English  Wesleyan  family, 
nephew  of  the  late  Rev.  Dr.  James  Baume,  of  the 
Rock  River  Conference,  is  now  a  Chicago  music  pub- 
lisher, composer,  and  violinist.  His  most  popular 
song,  ^'If  I  But  Knew,''  reached  a  sale  of  two  hundred 
thousand  copies.  Dr.  Moses  S.  Cross,  composer  of 
the  tunes  ^^Resignation''  and  '^Waratah,"  was  one  of 
three  clergjonen,  sons  of  Rev.  Aaron  Cross  of  the 
Rock  River  Conference.  He  died  April  20,  1911. 
John  Spencer  Camp  (1858-  ),  writer  of  '^Abiding 
Grace"  and  ^^Sylvester,"  is  a  prominent  organist 
and  composer  in  Hartford,  Conn,  (see  p.  202). 

Rounding  out  the  story  of  the  tunes,  let  us  con- 
sider their  relation  to  larger  musical  works.  Many  of 
our  tunes  have  been  derived  from  oratorios,  operas, 
masses,  and  other  large  forms;  while,  on  the  other 
hand,  many  of  the  hymn  tunes  have  been  taken  as 
themes  for  development  into  larger  works,  or  have 
been  inserted  with  dramatic  effect  in  the  heart  of 
some  sacred  cantata  or  oratorio. 

The  following  hymn  tunes,  grouped  according  to 
composers,  have  been  derived  from  the  music  set 
opposite  their  numbers  and  titles: 

George  Frederick  Handel  (1685-1759). 

'^Antioch''  (107),  A  medley  from  the  oratorio 

''Messiah":  (a)  Chorus, 
''Lift  up  your  heads";  (6) 
Introduction  to  tenor  aria, 
"Comfort  ye." 

"Christmas"  (115),  "Non  vi  piacque,"  from  the 

opera  "Ciroe"  (Cyrus). 


THE  STORY  OF  THE  TUNES 


197 


'Thatcher''  (182),  From  the  opera  ''Sosarme/' 

''Samson''  (298),  Chorus,  'Then  'round  about 

thy  starry  throne,"  ora- 
torio "Samson." 

"Bradford"  (370),  Contralto  solo,  "I  know  that 

my  Redeemer  liveth,"  ora- 
torio "Messiah." 

"Dirge"  (586),  From  oratorio  "Saul/' 


LuDwiG  VON  Beethoven  (1770-1827). 

"Hayes"  (131),  Andante  movement  in  Sonata 

Opus  14,  No.  2. 
"Hymn  of  Joy"  (160),  From  the  Ninth  Symphony. 

"Alsace"  (518),  From  the  Second  Symphony. 


Felix  Jacob  Ludwig  Mende 
"Consolation"  (43), 

"Mendelssohn"  (111), 

"Wilson"  (116), 
"Bartholdy"  (379), 
"Intercession  New"  (509), 

Louis  Spohr  (1784-1859). 
"Simpson"  (309), 

"Spohr"  (320), 
"Waring"  (465), 


isohn-Bartholdy  (1809-47). 

From  No.  3,  Book  2,  "Songs 
without  Words"  for  piano, 
Opus  30,  called  "Consola- 
tion." 

From  the  "Festgesang,"  writ- 
ten in  1840  to  celebrate  the 
discovery  of  the  art  of 
printing. 

Tenor  aria  No.  4,  "If  with  all 
your  hearts"  (Deut.  4.29), 
oratorio  "Elijah." 

No.  6,  Book  3  of  '^Songs  with- 
out Words,"  Opus  38,  called 
"Duet." 

Latter  half  from  No.  19,  reci- 
tative and  chorus  in  ora- 
torio "Elijah"  to  words, 
"Open  the  heavens  and  send 
us  relief"  (1  Chron.  4. 27). 

From  sacred  cantata  "Cruci- 
fixion." 

Solo,  '^If  all  thy  friends  for- 
sake thee,"  oratorio  "Cal- 
vary." 

Slow  movement  of  string 
quartette  in  A  minor. 


198  MUSIC  AND  HYMNODY 


Francis  Joseph  Haydn  (1732-1809). 

'^Creation^^  (84),  Chorus  No.  14,  Allegro  "The 

heavens  are  telHng,''  ora- 
torio "Creation." 

Carl  Maria  von  Weber  (1786-1826). 

"Seymour"  (267),  From  the  opera  "Oberon." 

"Jewett"  (524),  Contralto  aria,  from  the  opera 

"Der  Freischiitz." 

Robert  Schumann  (1810-56). 

"Canonbury"  (42),  "Nachtstiick"  (Night-piece), 

Opus  23,  No.  4.  for  piano. 

Charles  Gounod  (1818-93). 

"Olney"  (696),  From  song,  "There  is  a  green 

hill  far  away." 

Sir  John  Stainer  (1840-1901). 

"Cross  of  Jesus"  (98),  From  choral  hymn,  "In  the 

cross  of  Christ  I  glory,"  in 
sacred  cantata  "Cruci- 
fixion." 

Ignace  J.  Pleyel  (1757-1831). 

"PleyeFs  Hymn"  (35),         Slow  movement  of  quartette, 

Opus  7,  No.  4. 

Louis  More  a  u  Gottschalk  (1829-69). 

"Mercy"  (562),  Piano  piece,  "Last  Hope." 

Jean  Jacques  Rousseau  (1712-78). 
"Greenville"  (39),  Originally  occurs  with  slight 

differences  in  Scene  8  of 
"Le  Devin  du  Village,"  by 
Rousseau,  which  was  played 
before  King  Louis  of  France 
in  Fontainebleau  in  1752, 
and  for  the  last  time  after 
six  decades  of  popularity  in 
1828,  when  some  wag  cast  a 
huge  powdered  periwig  on 
the  stage,  thus  fatally  ridi- 


THE  STOKY  OF  THE  TUNES  199 


culing  the  opera.  Berlioz, 
accused  of  doing  this,pro  ved 
his  innocence  in  his  *  ^Mem- 
oirs/' The  tune,  in  arrange- 
ment more  Hke  its  present 
hymn-form,  became  popular 
in  London  in  1812  as  a 
pianoforte  piece,  entitled 
''Rousseau's  Dream." 


George  James  Webb  (1803-87). 

''Webb"  (386),  From  a  secular  song,  ''Tis 

dawn,  the  lark  is  singing," 
written  during  an  ocean 
voyage. 

Isaac  Baker  Woodbury  (1819-58). 

"Siloam"  (281),  Originally  sung  to  George 

Herbert's  words,  "Sweet 
day,  so  cool,  so  calm,  so 
bright,"  written  in  storm  at 
sea. 

Thomas  A.  Arne  (1710-78). 

"Arlington"  (354),  From  Overture  to  Opera  "Ar- 

taxerxes." 


Samuel  Webbe  (1740-1816). 

"Melcombe"  (95),  From  Mass    to    words,  "O 

salutaris  hostia,"  1791. 

Hans  Leo  Hassler  (1564-1612). 

"Passion  Chorale"  (151),       A  love  song,  "Mein  G'muth  ist 

mir  verwirret,"  from  his 
"Lustgarten." 

Frederick  Burgmuller  (1804-24). 

"Emmons"  (532),  From  one  of  his  instrumental 

marches. 


"Old  Hundred"  (16),  From  popular  French  song: 

"II  n'y  a  icy  celluy  qui  n'ai 
sa  belle." 


200  MUSIC  AND  HYMNODY 


Some  of  our  tunes,  as  ^^Mendebras"  (68),  were 
taken  from  German  folk  song.  Of  these  Professor 
John  Stuart  Blackie,  himself  a  hymn-writer,  has  said: 
''Many  of  these  melodies,  though  used  on  convivial 
occasions,  have  a  solemnity  about  them,  in  virtue  of 
which  they  are  well  fitted  for  the  service  of  the  sanc- 
tuary." 

The  use  of  our  hymn  tunes  as  themes  for  elaboration 
or  as  dramatic  interludes  in  larger  works  is  a  study, 
which,  if  detailed  in  full,  would  lure  the  student 
through  innumerable  oratorios,  sacred  cantatas,  organ 
sonatas,  orchestral  symphonies,  and  other  large  works, 
and  would  necessitate  the  expansion  of  this  chapter 
far  beyond  its  due  proportions,  so  extensively  have 
composers  made  use  of  these  attractive  thematic 
sources.    We  cite,  however,  a  few  examples : 

'^Ein'  Feste  Burg"  (101).  Attributed  to  Martin  Luther 
(1483-1546).  Meyerbeer  took  this  as  the  central  musical 
theme  of  his  opera  ^'The  Huguenots."  Mendelssohn  used  it 
in  his  ^^Reformation  Symphony,"  and  Wagner  in  his  * 'Kaiser 
March,"  Bach  in  various  ways  in  his  sacred  cantata  to  the 
same  words,  and  Dudley  Buck  makes  it  the  climax  of  a  male 
quartette. 

''America"  (702),  attributed  to  Henry  Carey  (1685-1743). 
Used  by  Beethoven  for  piano  variations  in  C  major,  and  by 
Weber  in  his  "Jubel  Overture."  Adolph  Hesse  (1809-63) 
ingeniously  elaborated  the  theme  into  a  brilliant  concert 
piece  for  the  organ. 

"Old  Hundred''  (16).  Forms  the  climax  to  Leopold  Dam- 
rosch's  setting  of  Bayard  Taylor's  ''National  Ode/'  written 
for  the  Centennial  in  1876. 


THE  STOKY  OF  THE  TUNES  201 


''St.  Ann  ''(214).  By  William  Croft  (1678-1727).  J.  Sebas- 
tian Bach's  'Tugue  in  E  Flat  major/'  written  in  the  last 
period  of  his  life,  is  known  as  the  ^^St.  Ann's  Fugue,"  be- 
cause of  the  use  of  this  theme  in  the  three  movements  (1) 
broad  and  stately,  (2)  graceful,  (3)  rhythmic  and  briUiant. 

''Munich"  (151).  Known  in  Germany  as  the  "Konigsberg 
Chorale."  In  Mendelssohn's  oratorio  "Elijah,"  as  Choral 
No.  15,  it  is  sung  to  the  words,  "Cast  thy  burden  upon  the 
Lord."  This  arrangement  is  nearly  the  same  as  appears  in 
our  Hymnal,  where  it  is  attributed  to  him. 

"Silent  Night"  (123).  By  Franz  Gruber  (1787-1863), 
often  called  "Holy  Night."  John  Hyatt  Brewer  has  writ- 
ten a  Christmas  cantata,  "Holy  Night,"  based  upon  this 
theme. 

"Russian  Hymn"  (707).  By  Alexis  F.  Lwoff  (1799-1870). 
Used  in  piano  piece,  "The  Czarina,"  by  Ganne  and  in  sev- 
eral symphonic  works. 

"Crusader's  Hymn"  (118).  Liszt  has  used  the  melody  as  a 
trio  in  the  oratorio  "Saint  Elizabeth"  to  the  "March  of  the 
Crusaders." 

"Passion  Chorale"  (151).  By  Hans  Leo  Hassler  (1564-1612). 
Used  by  Johann  Sebastian  Bach  several  times  in  his 
"Passion  Music  according  to  the  Gospel  of  Saint  Matthew" : 
No.  21,  "Acknowledge  me,  my  Keeper";  No.  53,  "Commit 
thy  ways,  O  pilgrim";  No.  63,  "O  Head,  all  bruised  and 
wounded";  No.  72,  "When  I,  too,  am  departing."  Each 
number  is  sung  in  a  lower  key  than  the  preceding  number. 

"Decius"  (93)  or  "St.  Peter"  (97).  By  Nicolaus  Decius 
(16th  century).  In  Mendelssohn's  oratorio  "Saint  Paul," 
used  as  Chorale  No.  3  to  the  words  similar  to  our  own  hymn 
(93),  "To  God  on  high  be  thanks." 

"Nun  Danket"  (30).    By    Johann    Criiger  (1598-1662). 

Used  by  Mendelssohn  as  Chorale  No.  8  in  his  Opus  52,  the 
"Lobgesang,"  or  "Hymn  of  Praise,"  to  the  words,  "Let  all 
men  praise  the  Lord,"  which  is  Alfred  Novello's  translation 
from  the  original  of  our  hymn  (30)  by  Martin  Rinkart. 


202  MUSIC  AND  HYMNODY 


"Bremen''  (476).  By  Georg  Neumark  (1621-81).  In 
Mendelssohn's  oratorio  "Saint  Paul"  this  forms  the  Choral, 
No  9,  at  the  death  of  Stephen  to  the  words,  "To  thee,  O 
Lord,  I  yield  my  spirit/' 

"Miller"  (17).  Mendelssohn  took  this  as  the  finale  of  his 
organ  sonatas.  It  is  said  by  one  critic  to  have  suggested 
to  Mendelssohn  his  aria,  "O  rest  in  the  Lord." 

"Portuguese  Hymn"  (125).  Often  called  "Adeste  Fideles." 
One  of  the  Christmas  melodies  in  Guilmant's  organ  offer- 
tory, "Christmas  Hymns."  John  Spencer  Camp  uses  it  in 
his  sacred  cantata,  "The  Prince  of  Peace." 

"Coronation"  (180).  By  Oliver  Holden  (1765-1844).  John 
Spencer  Camp  introduces  this  also  in  his  "Prince  of  Peace." 
He  is  the  composer  of  our  hymn  tunes,  "Abiding  Grace" 
(504)  and  "Sylvester"  (571),  both  written  especially  for  the 
Methodist  Hymnal. 


CHAPTER  IX 


THE  TITLES  OF  THE  TUNES 

Derived  from  the  Hymns — ^Authors  and  Composers — 
From  Persons — Places — Hills — Rivers,  Etc. — 
Method  in  Choosing  Names 

In  the  new  Methodist  Hymnal  the  titles  of  the 
h'-mns  are  no  longer  used,  as  in  previous  Hymnals. 
But,  as  titles  are  still  applied  to  the  tunes,  why  should 
we  not  know  more  about  these  tune  names,  their  use, 
and  their  meaning? 

There  is  a  great  confusion  in  the  naming  of  tunes,  for 
in  many  instances  the  same  name  serves  to  designate 
several  different  tunes  while,  on  the  other  hand,  there 
are  often  many  tunes  bearing  the  same  name.  When 
the  naming  of  psalm  tunes  was  first  introduced  in 
Esters  Psalter  (1592),  it  would  have  been  simple 
enough  to  avoid  this;  but  now  when  literally  thou- 
sands ot  hymn  tunes  are  being  published  each  year, 
confusion  is  inevitable.  Nevertheless,  it  is  un- 
doubtedly increased  by  the  carelessness  of  editors. 

In  the  Methodist  Hymnal  the  editors  have  taken 
great  care  in  the  choice  of  names.  Only  one  name, 
'^Stanley,''  has  had  to  serve  two  tunes,  although  in  the 
Wesleyan  Methodist  Hymn  Book  there  are  twenty 
names  that  must  stand  for  two  or  more  tunes,  and  in 
some  other  books  there  are  even  more.  One  tune 
appears  in  our  Hymnal  under  two  names,  ^^St.  Peter'' 
and  ^^Decius,''  although  this  is  somewhat  justified  by 

203 


204 


MUSIC  AND  HYMNODY 


the  difference  in  musical  arrangement.  In  choosing 
names  for  the  new  tunes  the  editors  have  made  pecu- 
harly  fitting  selections.  One  quarter,  however,  of  the 
names  chosen  for  new  tunes  in  this  Hymnal  are  already 
attached  to  other  tunes  in  other  books,  as  ^Temple,'' 
^^Racine,'^  ^^Ruth,''  ^^Middletown,'^  '^Resignation,'' 
'Traise,''  'Worship,''  ''Stella,"  "Nashville,"  "Ply- 
mouth," "Washington,"  and  "Evanston,"  the  last  two 
having  been  applied  to  other  tunes  in  the  old  Method- 
ist Hymnals  of  both  North  and  South. 

Usually,  the  editors  have  followed  good  precedent 
in  the  choice  of  names  for  the  old  tunes  also.  "Co- 
bern,"  however,  is  among  the  exceptions.  Dr.  Gaunt- 
lett's  tune,  so  named  in  our  Hymnal,  has  appeared  in 
many  other  books,  and,  so  far  as  we  have  observed, 
always  under  the  name  of  "Houghton."  It  is  so 
named  in  the  Methodist  Episcopal  Hymnal  of  1878, 
but  is  wrongly  attributed  there  to  William  Gardiner, 
instead  of  Henry  J.  Gauntlett. 

To  illustrate  the  Babel  of  names  that  confuse  the 
psalmodist,  we  have  examined  every  tune  title  in 
twenty  American  hynmals,  published  within  as  many 
years.  As  a  result,  we  find  that,  on  the  average,  about 
fourteen  tunes  in  each  of  these  books  are  either  tunes 
contained  in  the  Methodist  Hymnal  but  bearing  differ- 
ent titles,  or  tunes  not  contained  in  our  Hymnal  but 
bearing  the  same  titles  as  other  tunes  in  the  Hymnal. 
There  are  over  twice  as  many  of  the  former  as  of  the 
latter. 

Comparing  the  titles  in  our  Hymnal  with  those  in 
the  Methodist  Hymn  Book  of  England,  we  find  forty- 


THE  TITLES  OP  THE  TUNES  205 


SiX  tunes  common  to  both  hymnals  that  bear  different 
titles,  three  of  these  titles,  however,  being  very  similar; 
and  we  find  forty-nine  titles  referring  to  entirely  dif- 
ferent tunes  in  the  books  in  which  they  respectively 
appear. 

In  spite  of  this  confusion,  most  of  the  best  hymns 
retain  their  original  names,  and  to  many  of  these 
names  there  attaches  some  peculiar  interest  relating  to 
the  composer  or  to  the  hymn.  As  so  few  of  the  con- 
stant users  of  the  Hymnal  have  given  thought  to  the 
meaning  of  the  tune  names,  a  glance  at  this  field  may 
not  prove  unprofitable. 

Just  a  little  more  than  one  quarter  of  our  tunes  have 
clearly  derived  their  titles  from  one  of  the  hymns  to 
which  they  are  set  in  our  Hymnal.  Where  a  tune  is 
used  for  more  than  one  hymn,  naturally  such  a  title 
can  be  appropriate  to  only  one  of  these  hymns.  Thirty- 
one  of  these  titles  make  use  of  the  English  words  of  the 
first  line,  either  entire  or  in  part,  as  ^  ^Blessed  Assur- 
ance,'' '^Holy  Spirit,  Faithful  Guide''  or  ^^Sweet  Hour 
of  Prayer";  and  ten  of  them  use  the  words  of  the 
refrain  for  a  title,  as  '^Close  to  Thee,"  or  '^Loving  Kind- 
ness." These  follow  the  German  method  of  naming 
the  chorales  from  the  first  lines  of  the  hymn.  Thus 
we  have  in  our  alphabetical  list  of  tune  titles,  ''Nun 
Danket"  (Now  thank  we),  ''Ein'  Teste  Burg"  (A 
mighty  fortress),  etc.  All  five  of  the  German  titles  in 
our  Hymnal  are  appropriate  to  the  words.  Of  other 
titles  suggested  by  the  hymns  fourteen  refer  to  some 
act  of  worship,  as  'Traise"  or  ''Baptism" ;  ten  to  some 
Christian  virtue,  as  "Fortitude"  or  "Implicit  Trust'', 


206  MUSIC  AND  HYMNODY 


nine  to  heaven,  as  ^Taradise^'  or  ' 'Homeland^ \*  and 
ten  to  the  time  of  day,  as  ^ ^Morning  Hymn''  or  ' 'Night- 
fall/' The  Wesleyan  Methodist  Hymn  Book,  curi- 
ously enough,  contains  a  tune  by  Mr.  West,  entitled 
'^Sunset"  to  words  that  describe  the  sunrise. 

The  relation  of  some  of  the  titles  to  the  words  is  less 
obvious.  ''Old  Hundred''  or  "Old  Hundredth"  is  the 
tune  to  the  hundredth  psalm,  of  which  Hymn  No.  16 
is  a  metrical  version.  "Joshua"  is  indicated,  though 
not  mentioned,  in  the  hymn  poem  of  John  Hay  set  to 
a  tune  of  that  name.  "Patmos"  is  suggested  by  the 
vision  in  the  words,  "I  saw  the  holy  city."  "Palm 
Sunday"  is  meant  in  the  words:  "There  was  a  time 
when  children  sang." 

Many  of  our  tune  names,  that  have  been  derived 
from  their  original  hymns,  illustrate  the  chief  dis- 
advantage of  this  method  of  naming,  in  that  the  tunes 
have  been  set  to  wholly  different  hymns  in  our 
Hymnal,  to  which  their  titles  bear  no  relation  what- 
ever. The  following  titles  are  explained  only  by  the 
hymns,  to  which  they  are  set  in  other  books,  but  not 
in  ours:  "Angels'  Story,"  formerly  set  to  Mrs.  Miller's 
"I  love  to  hear  the  story.  Which  angel  voices 
tell";  "Holy  Trinity,"  to  Charles  Wesley's  hymn 
to  the  Trinity,  "A  thousand  oracles  divine"  (sung 
to  "Azmon"  in  our  Hymnal);  "Radiant  Morn," 
to  Dr.  Thring's  "The  Radiant  morn  hath  passed 
away";  "Gethsemane,"  to  J.  Montgomery's  "Go  to 
dark  Gethsemane";  "Day  of  Rest,"  to  J.  W.  Elliott's 
"0  day  of  rest  and  gladness"  (sung  to  "Mendebras"  in 
our  Hymnal);  "Blessed  Home,"  to  H.  W.  Baker's 


THE  TITLES  OF  THE  TUNES 


207 


'There  is  a  blessed  home'';  ''Nearer  Home/'  to  J. 
Montgomery's  "Forever  with  the  Lord"  (sung  to 
"Vigil"  in  our  Hymnal);  "Mercy,"  to  Charles  Wes- 
ley's "Depth  of  Mercy."  Of  the  Latin  titles  two  are 
taken  from  the  words  of  the  original  hymns,  to  which 
the  tunes  are  not  set  in  our  Hymnal:  "Dulcetta" 
(diminutive  from  Latin  word  meaning  "sweetness"), 
originally  set  to  James  Allen's  "Sweet  the  moments, 
rich  in  blessing";  "Aurelia"  (Latin  for  "Golden"),  to 
"Jerusalem  the  golden."  Five  of  these  ten  hymns  are 
in  the  Methodist  Hymnal;  and  in  the  Hutchins  Prot- 
estant Episcopal  Hymnal  nearly  all  of  them  are  set 
to  the  original  tunes  here  enumerated. 

The  English  composers  especially  delight  in  the  use 
of  Latin  titles.  Of  Dykes's  Latin  titles  we  have  eight, 
and  two  or  three  each  from  Barnby,  Calkin,  Smart, 
and  Stainer.  Of  the  thirty  Latin  titles  twenty-one 
refer  directly  to  the  words  in  our  Hymnal.  For  in- 
stance, "Nox  Prsecessit"  (The  night  advances)  to  the 
hymn  "My  span  of  life  will  soon  be  done";  "Lux  Eoi" 
(Light  of  the  East),  to  No.  567,  whose  sixth  line  refers 
to  the  light;  "Munus"  (Gift),  to  "Day  by  day  the 
manna  falls";  "Vexillum"  (Standard),  to  "Forward 
be  our  watchword";  "Vox  Dilecti"  (Voice  of  the  Be- 
loved One),  to  "I  heard  the  voice  of  Jesus  say."  Thus 
also,  "Diademata"  (crowns),  "Stella"  (star),  "Rex 
Regum"  (King  of  Kings),  "Stabat  Mater"  (There 
stood  the  Mother),  "Vesperi  Lux"  (Evening  light), 
"Pax  Tecum"  (Peace  be  with  thee),  "Paschale  Gau- 
dium"  (Paschal  joy),  "Visio  Domini"  (A  vision  of  the 
Master),  "Materna"  (Mother),  "Dominus  Regit  Me" 


208  MTTSIC  AND  IIYMNODT 


(The  Master  rules  me),  ''Ivdd''  (Wrath),  ''Laudes 
Domini''  (Praises  to  the  Master),  ^Tastor  Bonus''  (The 
Good  Shepherd),  'Tenitentia"  (Penitence),  'Tigilate" 
(Watch),  ^^Lux  Benigna"  (kindly  light). 

Eighteen  of  the  titles  are  taken  from  the  names  of 
the  authors,  to  whose  hymns  the  tunes  so  entitled  are 
set,  as  ^^Gilder,"  ^^Copeland,"  ^Toplady,"  ^^St.  An- 
drew of  Crete."  Two  of  these,  ^^Gerard"  and  "God- 
frey," are  the  first  names  of  Gerard  T.  Noel  and 
Godfrey  Thring,  the  others  being  the  last  names  of  the 
respective  poets. 

Thirty-three  titles  are  taken  from  the  names  of  the 
composers,  two  of  them  being  middle  names,  "Sebas- 
tian" and  "Baptiste,"  from  Samuel  Sebastian  Wesley 
and  John  Baptiste  Calkin  respectively.  Of  Felix 
Mendelssohn-Bartholdy's  melodies,  one  is  called 
"Mendelssohn,"  another  "Bartholdy,"  while  a  third 
is  often  called  "Felix,"  though  in  our  Hymnal  it  is 
known  as  "Consolation."  This  same  tune  "Consola- 
tion," and  also  "Cross  of  Jesus,"  "Samson,"  and 
"Creation,"  derive  their  titles  from  the  original  works 
in  which  their  melodies  first  appeared,  as  we  have 
described  at  the  end  of  the  last  chapter. 

Many  other  of  the  tunes  were  named  for  certain 
people.  "Vincent"  was  named  for  Bishop  John  H. 
Vincent,  for  whom  it  was  composed.  "Sutherland" 
bears  the  name  of  Alexander  Sutherland,  D.D.,  of 
Toronto,  secretary  of  the  Canadian  Methodist  Board 
of  Missions.  "Evelyn"  was  named  for  a  personal 
friend  of  Mrs.  Ashford,  the  composer.  Of  Professor 
Lutkin's  tunes,  "Gleason"  was  chosen  in  memory  of 


THE  TITLES  OF  THE  TtJNES  m 

the  late  Frederick  Grant  Gleason,  a  prominent  Chicago 
musician;  '^Caryr'  in  memory  of  a  little  child  that 
died  at  the  age  of  four;  ^^St.  Barbara'^  in  memory  of 
the  Methodist  saint,  Barbara  Heck,  after  whom  is 
named  ^^Heck  HalF'  of  Northwestern  University, 
where  an  important  meeting  on  this  present  Hymnal 
was  held.  ^'Olivarius''  is  the  maiden  name  of  the 
composer's  mother.  ^Tatten''  is  so  named  for  Dr. 
Amos  W.  Patten,  chaplain  of  Northwestern  University, 
and  compiler,  with  Professors  Stuart  and  Lutkin,  of 
the  ^'Northwestern  University  Chapel  Service  Book.'' 
^^Camp"  was  named  for  a  friend  of  the  composer. 

The  naming  of  the  tune  'Theodore"  has  an  interest- 
ing history.  When  the  composer  first  played  it  over 
to  one  of  the  editors,  the  latter  exclaimed,  'That  tune 
sounds  strenuous!"  This  adjective,  so  often  applied 
to  President  Theodore  Roosevelt,  at  once  suggested 
"Roosevelt"  as  a  name  for  the  tune.  But  as  that 
seemed  too  obvious,  they  chose  instead  the  Presi- 
dent's first  name,  'Theodore."  After  the  Hymnal 
appeared,  the  Rev.  Dr.  Benjamin  Copeland,  author  of 
"Our  fathers'  God,  to  thee  we  raise,"  to  which  the  tune 
"Theodore"  is  set,  wrote  to  ask  why  the  tune  was 
called  by  that  name.  Did  the  composer  know  that  the 
author  had  lost  a  little  boy  whose  name  was  Theo- 
dore? The  reply  came  to  Dr.  Copeland  that  the  tune 
had  been  named  for  the  President.  Whereupon  Dr. 
Copeland  replied  that  the  coincidence  was  even  more 
remarkable  because  when  Roosevelt  was  police  com- 
missioner in  New  York  he  had  been  such  an  admirer 
of  the  commissioner's  integrity  and  devotion  to  duty 


210  MUSIC  AND  HYMNODY 


that  he  had  named  his  son  after  him.  Thus  the  tune 
of  the  composer  and  the  son  of  the  author  of  Number 
713  in  our  Hymnal  both  came  to  bear  the  name 
^Theodore/^ 

The  names  of  four  of  the  makers  of  our  Hymnal  are 
to  be  found  in  the  Index  of  Tunes,  though  I  have  been 
assured  by  other  members  of  the  Committee  on  Times 
that  their  names  were  not  chosen  while  these  four 
were  present.  '^Upham''  was  given  to  one  time  in 
honor  of  the  Rev.  Dr.  Samuel  F.  Upham,  chairman  of 
the  first  Methodist  Episcopal  Commission,  and  a  mem- 
ber of  the  later  Joint  Commission  on  the  Hymnal 
until  his  death.  'Tarker''  and  ''Moore''  and  ''Co- 
bern''  were  chosen  respectively  for  Dr.  F.  S. 
Parker  and  Dr.  John  M.  Moore,  of  the  Methodist 
Episcopal  Church,  South,  and  Dr.  C.  M.  Cobern 
of  the  Methodist  Episcopal  Church,  all  members  of 
the  Joint  Commission. 

'Tisk''  bears  the  name  of  the  Rev.  Dr.  Willbur 
Fisk,  first  president  of  Wesleyan  University.  The  tune 
was  first  composed  by  Professor  Calvin  S.  Harring- 
ton to  the  words  'Teach  me,  0  my  gracious  Lord,'' 
written  by  President  Fisk's  widow  especially  for  the 
theological  students  of  the  Methodist  General  Biblical 
Institute  at  Concord,  New  Hampshire.  The  words 
were  not  acceptable  to  the  Commission  on  the  Hym- 
nal of  1878;  but  the  Committee  on  Tunes  urged  that 
the  tune  be  included  in  the  book.  Professor  Harring- 
ton consented  only  on  condition  that  it  be  published 
anonymously.  Therefore  a  star  in  the  old  Hymnal  is 
all  that  is  to  be  found  in  the  upper  right-hand  corner 


THE  TITLES  OF  THE  TUNES  211 


of  the  tune  ''Fisk/'  where  now  stands  the  honored 
name  of  this  sainted  singer. 

The  tune  ' 'Short le''  was  named  for  Dr.  Henry 
Shortle,  late  of  Provincetown,  Massachusetts,  the 
father-in-law  of  the  composer,  Charles  G.  Goodrich. 
Dr.  Shortle  as  Sunday  school  superintendent,  class 
leader,  and  one  of  the  founders  of  the  Yarmouth 
Camp  Meeting,  became  known  to  Methodists  through- 
out eastern  Massachusetts.  Many  remember  with 
emotion  his  power  in  prayer  and  testimony.  He  died 
in  September,  1892,  at  the  age  of  nearly  58. 

'^Emilie,''  written  in  1880  by  John  W.  Baume,  in 
Fresno,  California,  where  he  was  organist  in  the 
Presbyterian  church,  was  named  for  the  composer's 
sister  Emily.  ^'Eighmey^'  was  named  for  C.  H. 
Eighmey,  of  Dubuque,  Iowa,  who  is  a  leading  figure 
in  the  Methodist  Church  not  only  in  his  own  town,  but 
also  in  the  State  in  which  he  lives.  'Trederick^'  was 
a  title  chosen  by  its  composer,  George  Kingsley,  be- 
cause it  was  dedicated  to  the  Rev.  Frederick  T.  Gray. 
The  Rev.  Samuel  Rutherford,  a  much-persecuted 
Scotch  nonconformist  of  the  seventeenth  century, 
wrote  the  hymn  'The  sands  of  time  are  sinking^'  which 
was  long  sung  to  the  tune  ''Rutherford.''  In  our 
Hymnal  the  tune  is  used  to  other  words. 

Forty-five  of  our  tunes  are  named  after  saints, 
following  a  method  of  nomenclature  especially  popular 
with  the  English  composers.  This  is  less  than  half 
the  number  of  saintly  titles  in  either  the  Wesleyan 
Methodist  Hymn  Book  or  the  Hutchins  Hymnal. 
Here  again  Dykes  is  represented  by  eight,  and  Barnby 


212  MUSIC  AND  HYMNODY 


and  Sullivan  by  four  each.  Many  of  these  saints  are 
unfamiliar  to  most  of  us,  and,  indeed,  some  probably 
never  received  canonization  outside  of  a  hymn  book. 
Some  of  our  tune  titles  give  only  the  name,  and  omit 
the  word  '^Saint,'^  which  often  precedes  it  in  other 
hymnals.  For  instance,  our  tune  ^^Jude,'^  written  by 
the  English  composer,  William  H.  Jude,  is  usually 
called  elsewhere  ^'St.  Jude,''  though  the  saintly  title 
need  not  argue  any  relationship  between  the  com- 
poser and  the  ^^three-named  disciple.''  ^^St.  Ger- 
trude" (Onward,  Christian  soldiers!)  was  dedicated  by 
Sir  Arthur  Sullivan  to  Mrs.  Gertrude  Clay  Ker-Seymer, 
at  whose  home  in  Hanford  he  was  a  guest  when  it  was 
written.    Here  he  wrote  also  our  tune  ^^Hanford." 

Many  of  these  saints'  names  have  been  given  to 
tunes  from  the  names  of  the  churches  in  which  the 
composers  at  the  time  have  been  organists  or  musical 
directors.  In  ^'St.  Oswald"  Church,  Durham,  Dr. 
Dykes  for  years  was  vicar,  and  is  now  buried  there. 
His  son,  a  professor  at  the  Royal  College  of  Music,  was 
named  John  St.  Oswald  Dykes.  Sir  George  J.  Elvey, 
succeeding  H.  Skeats,  Jr.,  was  organist  from  1835  to 
1882  at  '^St.  George's,  Windsor."  William  Croft  was 
appointed  organist  at  ^^St.  Anne's"  at  Soho,  when  the 
new  organ  was  erected  in  1700. 

Other  titles  have  been  taken  from  churches.  '^As- 
bury"  was  composed  by  the  late  Claude  W.  Harring- 
ton for  a  celebration  in  Asbury  Methodist  Episcopal 
Church,  Rochester,  New  York.  ^^Sardis"  was  one  of 
the  seven  churches  mentioned  in  the  New  Testament. 

Nearly  a  hundred  of  the  titles  are  the  names  of 


THE  TITLES  OF  THE  TUNES  213 


towns  or  cities.  Five  of  these  are  mentioned  in  the 
Bible.  ^^Nic2ea''  was  a  town  in  Asia  Minor  where  the 
Ecumenical  Council  of  A.  D.  325  established  and 
developed  the  doctrine  of  the  Trinity.  Hence  our 
hymn  to  the  Trinity,  ^'Holy,  holy,  holy,''  gives  the  tune 
its  name,  ^^Nicsea/'  Most  of  the  town  names  are  in 
Great  Britain.  England  reciprocates,  however;  for 
in  the  Primitive  Methodist  Hymnal  we  note  that  our 
'Webb''  is  called  '^New  York,"  our  '^Hamburg" 
called  '^Boston,"  to  which  are  also  added  a  '^St.  Louis," 
two  ^^Brooklyns,"  and  even  a  ^Taterson." 

Some  of  the  town-names  denote  the  composer's 
birthplace,  as  ^^Holmfirth,"  a  town  in  the  West  Riding 
of  Yorkshire,  where  the  Rev.  Dr.  Benjamin  Gill  was 
born,  and  ^^Racine"  near  the  birthplace  of  Professor 
Lutkin.  '^Rotterdam"  was  the  birthplace  of  Ber- 
thold  Tours,  the  composer.  His  tunes  ^^Gouda" 
and  ^^De venter"  also  derive  their  titles  from  towns  in 
his  native  land  of  Holland.  ^^Kolding,"  ^^Copen- 
hagen," and  ^'Kiel,"  all  in  Denmark,  are  the  birth- 
places respectively  of  Professor  Lutkin's  father, 
mother,  and  the  great-grandfather  of  Mrs.  Lutkin.  The 
first  of  these  tunes  is  sung  to  a  hymn  about  the  great- 
est of  all  birthplaces,  Bethlehem.  ^'Middle town," 
Connecticut,  the  seat  of  Wesleyan  University,  has 
been  for  years  the  home  of  Professor  C.  T.  Winchester, 
composer  of  the  melody  of  that  name;  and  it  is  also 
the  home  of  Professor  Karl  P.  Harrington,  arranger  of 
the  harmony. 

'Trescott"  and  ^'Belleville"  are  towns  in  Canada, 
with  which  the  history  of  Mrs.  Lutkin's  family  is  con- 


214  MUSIC  AND  HYMNODY 


nected.  ^'Orono/^  Maine,  the  seat  of  the  University 
of  Maine,  was  for  years  the  home  of  Professor  Karl  P. 
Harrington.  Barnby  was  organist  from  1871  to  1886 
at  Saint  Anne's,  ^^Soho/'  where  he  instituted  the  great 
annual  Bach  Festival.  The  new  times  ^^Nashville/' 
^ 'Plymouth/ '  and  ^'Washington''  commemorate  in 
their  titles  the  cities  where  the  Joint  Commission  met 
in  preparing  the  Hymnal,  and  ''Evanston"  a  meeting 
place  of  the  Committee  on  Tunes.  It  is  unfortunate 
that  other  tunes  of  these  same  four  names  exist  in 
other  hymnals.  ''Hursley"  was  the  place  where  John 
Keble,  author  of  'The  Christian  Year,''  and  "Sun  of 
my  soul,"  was  vicar  from  1835  until  his  death  in  1866. 

Of  over  a  score  of  tunes  named  after  coimtries  or 
States,  three  are  mentioned  in  the  Bible:  "Gilead," 
"Goshen,"  "Judea";  and  nine  others  indicate  the 
nationality  of  their  composers.  Also  by  titles  taken 
from  the  names  of  cities,  the  composer's  nationality  is 
sometimes  indicated.  "Crimea"  has  no  special  signifi- 
cance save  as  it  illustrates  the  fondness  of  the  com- 
poser, Mr.  Thoro  Harris,  for  geographical  nomencla- 
tures, especially  those  of  unusual  flavor.  Some  of  his 
titles  in  other  hymnals  are,  "Takoma,"  "Sligo," 
"Berwyn,"  "Arizona,"  "Oklahoma,"  "Benning,"  "An- 
acostia,"  and  "Quebec." 

Half  of  the  eight  mountains  or  hills  named  in  the 
tune  titles  are  in  the  Bible.  The  river  "Jordan,"  the 
brook  "Kedron,"  and  the  pool  of  "Siloam"  are  scrip- 
tural waters.  It  had  been  more  appropriate  to  the 
words  if  the  titles  "Bethel"  and  "Bethany"  were 
interchanged.    "Bethel,"  the  place  of  Jacob's  dream, 


THE  TITLES  OF  THE  TUNES  215 

is  the  name  of  the  tune  to  ^^My  faith  looks  up  to  thee, 
Thou  Lamb  of  Calvary";  while  ''Bethany/'  which  is 
situated  on  the  slope  of  the  Mount  of  Olives,  is  the 
name  of  the  tune  to  ''Nearer,  my  God,  to  thee,''  founded 
upon  Jacob's  dream. 

It  is  interesting  to  observe  the  methods  of  tune- 
naming  peculiar  to  certain  composers.  We  have 
\  already  noted  the  AngHcan  fondness  for  Latin  and  for 
saintly  titles,  and  the  geographical  tastes  of  Mr.  Harris. 
Richard  Redhead  was  accustomed  to  use  his  own  name 
and  a  number.  Thus  our  ^'Gethsemane"  was  origi- 
nally known  as  "Redhead  No.  76,"  as  it  still  appears  in 
the  Episcopal  hymnals  along  with  four  other  Redhead 
numbers.  Lightwood  in  his  book  on  tunes  has  called 
our  attention  to  Dykes's  fondness  for  naming  tunes 
after  places  associated  with  incidents  in  his  life.  He 
says  that  Dykes's  career  may  be  traced  in  the  names 
he  gave  to  some  of  his  tunes.  Among  these  our 
"Hollingside"  is  notable  as  the  name  of  Dykes's 
cottage,  about  a  mile  from  Durham.  Dykes  once 
named  a  tune  "Sekyd" — his  own  name  spelled  back- 
ward. The  Rev.  N.  Cumock,  he  also  tells  us,  chose 
for  many  of  the  tunes  of  the  new  Wesleyan  Methodist 
Hymn  Book  names  associated  with  the  early  history 
of  Methodism,  as  "Castle  Street,"  where  stood  for 
many  years  the  Methodist  Publishing  House;  "St. 
Antholin,"  the  London  church,  where  John  Wesley 
preached  so  often;  "Gwennap,"  the  pit  in  Cornwall 
famous  for  the  Wesley  services;  "Moorfields"  and 
"Aldergate  Street,"  where  many  of  the  greatest 
Methodist  meetings  were  held  in  the  earlier  days. 


216  MUSIC  AND  HYMNODY 


The  musical  editors  of  the  Methodist  Hymnal  have 
followed  this  precedent  in  the  tune  title,  ^^City  Road/' 
Lightwood's  notice  of  A.  PI.  Mann's  fondness  for 
classical  names  is  borne  out  by  two  titles  in  our  index, 
^'Silesius'^  and  '^Claudius.''  Thus  from  personal  asso- 
ciations and  tastes,  or  the  ideas  expressed  in  their 
hymns,  has  been  wrought  out  for  the  tunes  a  series  of 
titles  that  has  puzzled  many  a  devout  Methodist  as  he 
has  scanned  the  Index  of  Tunes. 


CHAPTER  X 


DESCRIPTIVE  MUSIC 

Its  Emotional  Function — Sequence  of  Emotion — Musi- 
cal Characteristics — Onomatopceia,  Fitness 
of  Music  to  Words 

A  BATTLE  has  been  raging  of  late  years  in  the  musi- 
cal world  over  the  question  of  the  descriptive  powers 
of  music.  The  thickest  of  the  fight  has  centered  about 
''programme  music/'  This  usually  consists  in  a  sym- 
phonic treatment  of  some  legend  or  poem,  so  closely 
describing  in  music  its  sequence  of  events  as  to  enable 
the  listener  by  means  of  a  printed  programme  to 
follow  the  action  described  by  the  orchestra.  One 
school  scorns  programme  music  as  decadent.  The 
function  of  music  is  to  depict  emotion;  and  the  high 
office  of  pure  music,  they  insist,  is  perverted  by  relat- 
ing it  to  events  rather  than  emotions.  The  other 
school,  who  for  the  time  seem  to  be  in  the  majority, 
ardently  hail  programme  music  as  the  music  of  the 
future,  and  some  devotees  bow  down  to  Richard 
Strauss  as  its  prophet.  They  would  justify  their 
position  by  citing  the  song,  the  oratorio,  and  the 
opera,  wherein  the  music  aims  to  depict  the  emotions 
expressed  in  the  words;  and  they  triumphantly  quote 
Wagner's  famous  phrase  concerning  ''the  fertilization 
of  modern  music  by  poetry.''  Over  these  points  the 
programmists  and  absolutists  break  lances.  In  spite 
of  definite  convictions  as  to  how  long  programme  music 

217 


218 


MUSIC  AND  HYMNODY 


will  maintain  its  vogue,  we  must  be  content  merely  to 
have  mentioned  this  great  controversy  in  introducing 
this  subject. 

In  the  hymn  tune,  of  course,  there  is  no  such  minute 
description  of  events  or  emotions  possible:  firstly, 
because  the  hymn  tune  is  practically  the  smallest 
complete  musical  form;  and,  secondly,  because  the 
many  verses  of  a  hymn,  that  must  be  sung,  each  verse 
to  the  same  music,  often  evoke  entirely  different 
emotions,  so  that  a  tune  that  would  emotionally 
describe  one  verse  might  be  entirely  foreign  to  the 
other  verses. 

We  have  in  the  Methodist  Hymnal,  however,  some 
good  examples  of  the  correspondence  of  the  music  to 
each  verse  of  the  hymn.  Let  us  examine,  for  instance, 
the  hymn  ^Tierce  raged  the  tempest' '  (485).  There 
is  a  striking  contrast  in  the  poetic  emotion  between  the 
first  half  and  the  second  half  of  each  verse.  It  is  the 
contrast  between  tempest  and  calm.  The  music  has 
depicted  this  contrast.  The  whole  of  the  first  line  of 
the  music  is  in  the  minor  mode,  the  rhythm  is  agitated, 
and  in  the  upward  tossing  of  the  bass  upon  the  ascend- 
ing sixteenth  notes  in  the  first  four  measures  one  may 
feel  the  furious  rolling  of  the  waves.  But  in  the 
second  half  the  music  entirely  changes  to  correspond 
with  the  change  in  the  words.  The  harmony  is 
quickly  resolved  into  the  relative  major  key,  bringing 
reassurance :  the  rhythm  gradually  calms  down  from 
three  notes  in  the  measures  to  two  notes,  and  finally 
on  the  words,  ^^Calm  and  still,''  to  only  one  note  in 
each  measure,  while  the  melody  at  last  ends  on  the 


DESCKIPTIVE  MUSIC 


219 


''ST.  AELRED'WoHN  B.  Dykes. 


\^ 

:~J  1 

—J — 

—S  t  -- 

I.  Fierce  raged  the  tem-pest  o*er  the  deep,  Watch  did  Thine 

J-  -J-  J-  ^-J..  * 


m 


Mi: 


i 


anx  -  ious  serv  -  ants  keep,   But  thou  wast  wrapped  in 


i 


,^r^  1 

6^—  ' 

guile  -  less  sleep, 

-I- 


Calm     and      still. . .       A  -  men. 


3= 


f- 


*'Save,  Lord,  we  perish,*'  was  their  cry, 
"O  save  us  in  our  agony 
Thy  word  above  the  storm  rose  high, 
*'Peace,  be  still." 

The  wild  winds  hushed;  the  angry  deep 
Sank,  like  a  little  child,  to  sleep; 
The  sullen  billows  ceased  to  leap, 
At  thy  will. 

So,  when  our  life  is  clouded  o'er, 
And  storm-winds  drift  us  from  the  shore. 
Say,  lest  we  sink  to  rise  no  more, 
^'Peace,  be  still." 

— Godfrey  Thring. 


220  MUSIC  AND  HYMNODY 


third  note  of  the  scale,  which  ending  usually  denotes 
confidence. 

Dr.  John  B.  Dykes's  melody  ^^St.  Andrew  of  Crete'' 
(616)  to  the  words,  '^Christian!  dost  thou  see 
them?''  represents  a  similar  contrast,  sustained 
throughout  each  verse.  In  three  verses  the  first  four 
lines  offer  some  tempting  question,  which  is  answered 
in  the  strength  of  faith  by  the  words  of  the  last  four 
lines.  In  the  last  verse  the  contrast  is  marked  be- 
tween the  weariness  of  toil  and  the  glorious  reward  for 
toil.  These  contrasts  the  music  follows  with  great 
emotional  power.  The  harmony  of  the  first  eight 
measures  is  in  C  minor;  of  the  last  eight  in  C  major. 
The  melody  of  the  first  part  creeps  along  with  hesitant 
steps  of  small  intervals,  never  going  higher  than  C, 
emphasizing  the  fifth  note  in  the  scale,  and  finally 
ending  on  the  fifth,  which  as  a  final  note  depicts  un- 
certainty. The  melody  of  the  second  part,  on  the 
other  hand,  is  militant,  beginning  with  intervals  of  a 
fourth,  a  fifth,  and  a  sixth;  and  it  bounds  forward 
triumphantly  like  a  valiant  Christian  soldier  about  to 
smite  the  foe. 

''Yox  Dilecti"  (304)  to  the  words,  'T  heard  the  voice 
of  Jesus  say,"  is  another  example  of  a  melody  whose 
first  eight  measures  are  in  minor,  while  the  last  eight 
are  in  major,  thus  illustrating  a  contrast  in  the  words. 
Each  verse  presents  in  its  first  part  the  invitation  of 
Jesus,  reminding  the  human  soul  of  weariness  (first 
verse),  thirst  (second  verse),  and  darkness  (third 
verse).  The  acceptance  comes  in  the  second  part  of 
each  verse,  discovering  rest  (first  verse),  water  (second 


DESCEIPTIVE  MUSIC 


221 


"ST.  ANDREW  OF  CRETE"— John  B.  Dykes. 
I.  Chris-tianI  dost  thou  see  them   On  the  ho  -ly  ground. 


Chris-tian!  up    and  smite  them,  Counting  gain  but  loss; 


— ^ — ^ 

3 — •! — ^ 

^ — 

In  the  Strength  that  com-eth  By  the  ho  -  ly  cross.  A -men. 


222  MtJSlC  AND  HYMNODY 


verse),  and  light  (third  verse).  The  cautious  and  the 
spirited  rhythms,  the  plaintive  and  the  joyful  melodies 
contrasted  in  the  two  parts  of  this  tune,  bring  the 
invitation  and  the  acceptance  into  strong  musical 
relief.  Even  within  the  second  half,  the  climax  which 
the  music  develops  corresponds  exactly  with  that  of 
the  words,  both  reaching  their  culmination  in  the 
third  measure  from  the  end  on  the  w^ords  ^  ^resting 
place,''  ^^soul  revived,''  and  ''life." 

There  is  somewhat  of  a  contrast,  though  not  so 
marked,  within  some  of  the  verses  of  Charles  Wesley's 
''Jesus,  Lover  of  my  soul."  In  the  first  half  of  the  first 
verse  "waters  roll"  and  "tempest  high"  are  compared 
with  "storm  of  life  is  past"  in  the  second  half;  likewise 
in  the  second  verse  "helpless  soul,  alone"  contrasts 
with  "my  trust,  my  help."  Here,  as  in  the  preceding 
examples,  the  contrast  is  reproduced  in  the  music  of 
Joseph  Barnby's  time  "St.  Fabian"  (463)  by  setting 
the  first  half  in  G  minor  and  the  second  half  in  G  major. 

Although  the  sequence  of  emotions  within  a  verse 
cannot  always  be  reflected  in  the  music,  for  the  reasons 
cited  above,  a  good  hymn  tune  should  portray,  or  at 
least  be  consistent  with,  the  dominant  emotion  of  the 
hymn.  Various  elements  conspire  to  produce  this 
harmony  between  words  and  music.  Let  us  consider 
first  the  use  of  the  minor  mode. 

In  the  present  Hymnal  there  are  nineteen  times 
using  the  minor.  Eight  of  these  begin  in  the  minor  and 
end  in  the  major  (Nos.  151 — second  tune,  304,  403, 
464,  485,  616,  747).  The  other  eleven  begin  and  end 
also  in  the  minor  (Nos.  4,  152,  155,  254,  270,  273,  380, 


DESCRIPTIVE  MUSIC 


476,  580,  595,  603).  It  is  no  accident  that  ten  of  these 
melodies  of  the  minor  mode  are  set  to  hymns  under  the 
following  classifications:  ^'Sufferings  and  Death  of 
Christ/'  'Warnings  and  Invitations,''  ^'Repentance," 
''Brevity  and  Uncertainty  of  Life,"  "Death,  and 
Judgment"  C'Day  of  Wrath"),  subjects  that  lend 
themselves  most  appropriately  to  the  minor  mode. 
Four  of  these  we  have  already  cited  (Nos.  304,  464, 
485,  616).  Of  the  remaining  five  hymns  the  first  lines 
suggest  the  reasons  for  setting  them  to  tunes  of  the 
minor  mode.  They  are:  "0  bitter  shame  and  sor- 
sow"  (380);  ''Defend  us,  Lord,  from  every  ill"  (403); 
"Slowly,  slowly  darkening,"*  the  sunset  of  life  (464); 
"Leave  God  to  order  all  thy  ways,  ...  in  the  evil 
days"  (476);  and  "The  God  of  Abraham  praise"(4). 
This  last  hymn  tune,  the  naming  of  which  we  have  re- 
ferred to  elsewhere,  is  a  Hebrew  melody,  and  is  natur- 
ally in  the  minor  mode,  which  predominates  in  Hebrew 
music. 

Besides  these  melodies  that  are  distinctly  in  the 
minor,  there  are  several  hymn  tunes  that  contain  so 
many  chords  based  upon  the  minor  triads  that  they 
partake  somewhat  of  that  plaintive  effect  so  charac- 
teristic of  the  minor  mode.  Of  this  class  we  give  but  a 
few  of  the  many  examples:  "Asleep  in  Jesus"  (583), 
"Mourn  for  the  thousands  slain"  (698),  "0  that  I 
could  repent"  (265).  The  first  line  of  each  of  these 
hymns  proclaims  its  appropriateness  to  a  tune  with 
minor  harmonies. 

A  tender,  plaintive  effect  is  produced  by  the  use  of 
a  series  of  consecutive  thirds  in  the  upper  parts;  that 


224  MUSIC  AND  HYMNODY 


is,  the  soprano  and  alto  singing  in  parallel  lines  only 
two  notes  apart.  This  is  made  especially  effective  by 
ending  the  tune  on  the  third  note  of  the  scale,  as  may 
be  felt  in  hearing  the  following  examples:  ^^When  I 
survey  the  wondrous  cross''  (141);  Jesus,  thy  blood 
and  righteousness'' — Sufferings  and  Death  of  Christ 
(148);  '^0  that  I  could  repent"  (265);  "One  sweetly 
solemn  thought"  (620).  To  these  may  be  added  "By 
cool  Siloam's  shady  rill"  (678)  as  fitting  to  the  tender 
suggestions  of  childhood  for  the  reason  just  stated. 
There  are  also  a  number  of  hymns  that  successfully 
use  the  series  of  consecutive  thirds  to  produce  plain- 
tive effects  which  end  on  the  tonic,  or  first  note  in  the 
scale,  as,  for  instance,  the  communion  hymn  (239); 
"0  Love  divine,  that  stooped  to  share,  Our  sharpest 
pang"  (457) ;  "Unveil  thy  bosom,  faithful  tomb"  (586) ; 
"Shall  man,  0  God  of  light  and  life.  Forever  molder  in 
the  grave?"  (596.) 

The  martial  hymns,  calling  to  arms,  are  usually  set 
to  music  having  a  firm  and  even  rhythm.  The  inter- 
vals are  wider  than  in  the  intervals  of  prayer  tunes, 
and  the  melody  tends  to  follow  the  chord-lines,  as  we 
are  reminded  by  the  tunes  set  to  "Go  forward, 
Christian  soldier"  (387);  "Soldiers  of  the  cross, 
arise"  (385);  "Onward,  Christian  soldiers"  (383); 
and  "We  march,  we  march  to  victory"  (418).  In 
the  last  two  examples  the  bass,  especially  in  the 
chorus,  seems  to  imitate  the  tramping  of  soldiers. 
A  peculiar  device  to  represent  a  trumpet  call  is 
often  used  in  music,  and  it  appears  in  some  of  our 
martial  hymn  tunes.    It  may  be  described  in  tech- 


DESCKIPTIVE  MUSIC 


225 


nical  terms  of  harmony  as  follows :  While  the  soprano 
is  descending  three  whole  tones,  some  other  part,  as 
the  alto  or  bass,  also  descends,  making  a  major 
third  with  the  first  note  of  the  soprano,  a  perfect 
fifth  with  the  second,  and  a  minor  sixth  with  the 
third,  and  the  same  intervals  with  the  same  notes 
as  they  ascend  to  the  original  note,  thus: 

^  I  I 

For  -  ward      in   -    to       bat    -  tie!.. 


I- 


I.  My 

^ — *=j=^ 

soul,      be      on      thy  ^ 

— 

^uard. 

^ — 1 

You  may  hear  this  trumpet  call  in  these  two  ex- 
amples taken  respectively  from  the  thirteenth  and 
fourteenth  measures  of  ^^Onward,  Christian  soldiers!'^ 
(383)  between  the  soprano  and  bass  to  the  words, 
''Forward  into  battle,"  and  from  the  first  six  chords 
of  ''My  soul  be  on  thy  guard''  (493 — first  tune).  We 
choose  to  believe  that  this  device  was  not  used  in 
these  places  by  chance. 

A  striking  characteristic  of  the  tunes  of  the  morn- 
ing hymns  is  that  the  melody  tends  to  ascend. 


226  MUSIC  AND  HYMNODY 


Naturally,  it  cannot  ascend  on  every  step,  but  there 
is  a  distinct  upward  tendency  that  may  be  easily 
recognized  in  the  following  examples:  ^^When  morn- 
ing gilds  the  skies''  (32),  '^Hail  to  the  Sabbath  day'' 
(66),  ^Welcome,  delightful  morn"  (67 — second  time), 
''0  day  of  rest  and  gladness"  (68),  ^^Lord  of  the 
Sabbath,  hear  our  vows"  (73).  If  we  regard  Addi- 
son's ^The  spacious  firmament  on  high"  (84)  as  a 
hymn  on  the  morning  of  creation,  Haydn's  melody 
may  then  be  said  to  be  an  excellent  example  of  the 
upward  tendency  of  the  morning  hymn.  All  of 
this  is  not  without  its  psychological  reason;  for  as 
the  sun  ascends  the  sky,  and  as  our  bodies  rise  from 
rest  and  sleep,  so  our  consciousness  and  emotional 
life  in  the  morning  feels  the  upward  tendency  of  the 
beginning  of  the  day. 

For  the  converse  reason  the  melodies  of  the 
evening  hymns  tend  to  descend.  Wlien  the  flowers 
are  closing  and  the  sunlight  is  fading,  our  conscious- 
ness descends  toward  quiet  and  repose.  A  reflection 
of  this  ^'shadow  of  turning"  may  be  seen  in  the 
following  examples,  in  which  should  be  observed 
also  two  other  characteristics  of  the  evening  hymn — 
a  fuller  use  of  the  chord  of  the  dominant  seventh, 
and  also  a  very  narrow  range  for  the  melody.  The 
plaintive  effect  of  the  dominant  seventh  is  akin  to 
the  pensive  sadness  of  the  twilight  hour.  The  upper 
notes  of  melody  are  less  singable  when  mind  and 
body  are  approaching  a  state  of  rest,  when  our 
lungs  inhale  less  deeply,  and  our  emotions  are 
quieter.    '^Abide  with  me"  (50),  which  illustrates  all 


DESCKIPTIVE  MUSIC 


22? 


of  these  points,  does  not  in  melody  wander  beyond 
the  interval  of  a  fifth.  Likewise  the  whole  melody 
of  '^Now  the  day  is  over''  (59)  is  confined  within  the 
interval  of  a  fourth,  and  not  more  than  five  of  the 
twenty-four  notes  lie  beyond  E  and  F.  ^^Slowly, 
slowly  darkening''  (464 — second  tune)  is  also  within 
the  range  of  a  fourth,  save  for  two  low  notes  at  the 
end.  'Teace,  perfect  peace"  (528),  a  hymn  for  the 
evening  of  life,  contains  twenty-one  notes,  and  all 
but  seven  of  these  are  on  G  or  A.  This  same  dif- 
ference in  the  range  of  the  melody  may  be  observed 
between  joyful  and  sad  melodies,  and  between  vig- 
orous and  quiet  tunes. 

The  contrast  between  conjunct  and  disjunct 
melody  should  represent  a  wider  difference  of  emo- 
tional content  in  our  hymn  tunes  than  is  sometimes 
observed  by  composers  and  editors.  Our  Hymnal 
contains  many  excellent  examples  of  this  distinction. 
Disjimct  melody  follows,  for  the  most  part,  the 
chord-line,  using  intervals  that  are  as  wide  as  the 
intervals  of  the  chord,  so  that  if  several  successive 
uotes  of  the  melody  are  sounded  simultaneously, 
they  form  a  good  chord.  Some  of  the  best  examples 
are:  '^Dennis"  (100),  ^^Regent  Square"  (25),  ^Tleyel's 
Hymn"  (35  and  248),  ^^Horton"  (248),  '^Consecra- 
tion"  (348),  ^^Geer"  (376),  ^'Gratitude"  (410),  ^^Mait- 
land"  (557),  ''Jewett"  (524),  ^Warwick"  (41), 
^'Nicsea"  (78).  The  hymns  to  which  these  disjunct 
melodies  are  set  usually  express  sentiments  of  joy, 
contentment,  activity  or  exaltation  of  spirit.  And 
where  these  express  ideas  emotionally  foreign  to 


228  MUSIC  AND  HYMNODY 


such  sentiments,  there  is  usually  not  a  complete 
correspondence  between  words  and  music. 

Conjunct  melody,  on  the  other  hand,  follows  to  a 
greater  degree  the  scale  line,  makes  less  frequent 
use  of  wide  intervals,  and  uses  passing  notes  more 
freely.  Emotionally,  it  is  better  adapted  to  pur- 
poses in  contrast  to  those  of  disjunct  melody. 

They  who  delight  in  the  musical  depiction  of 
material  objects  or  episodes  may  without  too  great 
an  exercise  of  the  imagination  find  some  examples 
of  the  onomatopoeia  of  music  among  our  hymn 
tunes.  Just  as  in  poetry  there  are  sometimes  used 
onomatopoetic  words,  which  upon  being  pronounced 
imitate  the  sound  described  by  the  word,  as  ^^hiss," 
^^buzz,'^  ^^crackle''  (of  a  fire),  etc.,  so  there  is  some- 
times an  onomatopoeia  of  music,  that  imitates  or 
describes  the  words  to  which  it  is  sung.  How  appro- 
priate may  be  this  device  to  the  true  purpose  of 
music  is  a  question  akin  to  the  problem  of  programme 
music.  Its  ardent  defenders  are  quick  to  cite  Bee- 
thoven's imitation  of  the  lowing  of  a  cow  in  one  of 
his  symphonies. 

One  critic,  after  playing  Parry's  great  tune  to 
'^In  age  and  feebleness  extreme''  (746),  exclaimed, 
^^You  can  see  the  old  man  halting  on  his  staff." 

The  harmony  of  the  first  four  measures  of  ^Thou 
hidden  Source  of  calm  repose"  (466)  describes  well 
the  thought  of  the  first  line  of  the  hymn.  There  is  a 
suggestion  of  hiding  in  the  harmony  of  the  first  four 
chords,  as  they  fold  over  from  the  tonic  to  the  un- 
resolved chord  on  B  flat;  but  the  quick  return  to 


DESCKIPTIVE  MUSIC 


229 


the  tonic  triad  on  F  seals  the  impression  of  repose, 
because  this  is  the  one  chord  denoting  rest,  to  which 
every  restless  chord  must  resolve.  On  the  opposite 
page  of  the  Hymnal,  ^^Cast  thy  burden  on  the  Lord^' 
(468)  is  another  example  of  the  same  effect  of  re- 
pose, wrought  out  in  the  first  member  of  the  first 
phrase.  In  the  next  hymn  (469)  some  musicians 
may  refuse  to  see  waving  woods  and  rolling  oceans 
in  the  waving  and  rolling  of  the  melody,  or  to  admit 
that  in  hymn  112  (first  tune)  the  next  to  the  last 
measure  imitates  in  the  alto  and  tenor  the  rocking 
of  a  cradle,  where  the  word  cradle  occurs  in  that  line 
in  three  out  of  the  four  verses;  but,  nevertheless,  the 
suggestion  is  there  whether  wittingly  or  not. 

In  ^^Saviour,  again  to  thy  dear  name'^  (38)  a  con- 
trast is  made  in  the  music  between  the  thought  of 
^^We  stand  to  bless  thee''  and  ^Then,  lowly  kneeling, 
wait  thy  word  of  peace.''  This  last  line  of  the  first 
verse  is  echoed  in  the  music,  as  the  effect  of  waiting 
or  expectancy  is  produced  by  ending  the  melody  with 
four  notes  on  the  fifth  (which  ending  is  very  rare). 
To  the  words  ^^Not  only  when  ascends  the  song. 
And  soundeth  sweet  the  word"  (520)  is  sung  a  mel- 
ody that  begins  on  F,  and  steadily  ascends  through- 
out the  first  half  of  the  tune  to  E,  so  that  while  the 
congregation  is  singing  of  the  song  that  ascends,  their 
own  voices  are  actually  ascending  the  scale.  One 
needs  to  observe  only  the  name  of  the  tune,  which 
is  ' 'Ascending  Song,"  to  be  convinced  that  this 
device  was  intentional. 

Let  us  not  dwell  too  long,  however,  upon  the 


230 


MUSIC  AND  HYMNODY 


many  possible  examples  of  this  ^^onomatopoeia  of 
music;''  for  these  are  elements  that  appeal  to  sensa- 
tion rather  than  real  musical  emotion,  and  may  be 
regarded  merely  as  the  curiosities  of  psalmody,  or, 
when  they  are  not  purely  accidental,  as  the  tricks 
of  musical  composition. 

The  real  importance  in  musical  description  is  that 
composers  and  editors  preserve  the  emotional  cor- 
respondence between  words  and  music  and  apply 
the  great  principles  governing  this  relation.  There 
should  be  no  caprice  in  the  use  of  conjunct  and 
disjunct  melody,  in  the  selection  of  modes,  rhythm, 
or  tonal  relations,  or  in  the  choice  of  harmonies 
with  which  the  melody  is  clothed.  Melody  should 
aim  not  at  external  effect,  but  should  seek  to  reach 
the  inmost  emotion  of  the  soul. 

From  this  it  will  be  seen  that  in  the  work  of  joining 
music  and  words  there  is  vastly  more  required  of 
musical  editorship  than  merely  the  abiUty  to  dis- 
cover music  of  the  same  meter  as  the  words,  and  to 
make  this  the  basis  of  the  union,  else  editorship  is 
not  worthy  of  the  namiC.  Many  hymnals,  however, 
have  disregarded  the  most  common  laws  of  metrical 
accent  in  uniting  words  and  music.  To  avoid  these 
infelicities  the  Hymnal  Commission  has  set  some 
hymns  to  different  music.  Professor  Stuart,  in  an 
article  on  the  Hymnal,  says  that  one  of  the  reasons 
for  adding  the  tune  ''Sawley''  for  the  words  "Jesus, 
the  very  thought  of  thee''  was  that  in  singing  the 
words  to  the  form^er  time,  "Holy  Cross,"  it  was 
necessary  to  accent  the  second  syllable  of  the  name 


DESCEIPTIVE  MUSIC 


231 


"Jesus''  in  the  first  and  the  last  verses.  The  new 
tune  corrects  this,  while  the  old  tune  remains  in  the 
H5minal  as  optional.  There  are  still  instances  in 
which  the  tune  is  ill-suited  to  the  accents  in  the 
poetry,  sometimes  unavoidably  owing  to  the  irregu- 
lar accent  of  the  poetry.  For  example,  ^^Shawmut'' 
(265)  throughout  the  tune  accents  the  first  syllable 
of  each  line,  to  which  it  is  sung.  But  in  reading  the 
hymn  one  would  hardly  accent  ^'with''  and  /^a,''  as 
the  melody  now  compels  us  to  do  three  times  to  each 
word. 

Some  critics  of  the  new  Hymnal  have  expressed 
surprise  that  a  new  tune  besides  the  old  ^^An- 
tioch''  should  be  added  to  the  words,  '^Joy  to 
the  world.''  But  they  would  wonder  less  if  they 
would  sing  the  ^'wonder"  of  the  last  line  of  the  hymn 
to  the  old  tune  with  this  ludicrous  effect: 

"And  w^on — and  wonders  of  his  love." 

The  new  tune  metrically  fits  the  words,  as  the 
old  tune  does  not.  The  new  tune  to  the  words,  "Just 
as  I  am,  without  one  plea,"  also  fits  the  words,  as 
the  old  does  not,  and  besides  possesses  a  dignity 
and  real  musical  merit,  which  was  conspicuously 
lacking  in  "Woodworth."  The  sacred  name  "Jesus" 
occurs  as  the  first  word  in  sixty-seven  different 
verses  in  the  Hymnal;  but  in  nineteen  of  these  the 
music  makes  it  necessary  to  accent  the  second  sylla- 
ble, as  well  as  in  nine  other  places,  where  the  name 
is  sung.  In  one  hymn  (222)  this  occurs  three  times. 
Likewise  "Father"  is  accented  on  the  ultimate  too 


232  MUSIC  AND  HYMNODY 


many  times.  Sometimes  the  sense  suffers  from  this 
mispronunciation,  as  in  singing  '^Welcome,  deUghtful 
morn/'  to  the  tune  Lischer  (67)  one  must  exclaim, 
'Well,  come!''  as  though  the  wished-for  day  had 
not  yet  arrived,  and  were  still  in  the  future  tense  of 
that  other  hymn,  'Well,  the  delightful  day  will 
come"  (540). 

It  is  curious  that  the  Preface  of  the  1878  Hymnal, 
and  also  of  the  present  Hymnal,  both  refer  to  the 
union  of  words  and  music  as  a  ^'marriage,"  and  still 
more  curious  that  both  Prefaces  speak  also  of  the 
' 'divorce"  of  words  and  music.  Some  hymnal  mar- 
riages truly  seem  to  have  been  made  in  heaven.  We 
cannot  speak  thus  of  all  of  our  Methodist  hymns, 
though  many  of  them  seem  to  have  been  inspired 
in  the  union  of  words  and  music.  But  of  the  Hymnal 
as  a  whole,  and  of  the  appropriate  joining  of  melodies 
and  poems,  we  may  truly  say  that  it  is  in  violent 
contrast  to  the  work  of  the  haphazard  matrimonial 
agencies  that  carelessly  assemble  certain  communi- 
ties of  tunes  and  verses  and  boldly  call  them  hymn 
books. 


CHAPTER  XI 


THE  FORMAL  ELEMENTS  OF  THE  MUSIC 

The  Keys — Vocal  Range — Unit  Forms — Repetition  and 
Imitation — Harmony 

The  Methodist  Hymnal  affords  the  student  of 
music  an  opportunity  to  observe  practically  all  of 
the  simple  elements  of  melody,  harmony,  and  form; 
and  a  critical  analysis  of  the  hymn  tune,  the  smallest 
complete  musical  form,  can  be  made  very  profitable 
as  an  elementary  study. 

In  reading  a  piece  of  music  the  first  thing  to  be 
observed  is  the  signature,  or  the  number  of  sharps 
and  flats  immediately  following  the  clef  sign,  de- 
noting the  particular  key  in  which  the  music  is 
written.  Although  thirteen  different  keys  are  avail- 
able in  music,  each  one  of  our  hymn  tunes  begins  in 
one  of  ten  keys,  no  more  than  four  sharps  or  five 
flats  being  used  as  a  signature ;  and  each  of  our  tunes 
ends  in  the  same  key  in  which  it  began,  except  a 
few  tunes  beginning  in  the  minor  mode,  that  end 
in  the  major. 

The  following  table  shows  the  number  of  tunes 
written  in  each  key  in  the  two  great  Methodist  col- 
lections on  both  sides  of  the  Atlantic: 

Methodist  Hymnal  (America) 

G      Eb     F    Ab    Bb    C      D     A     E  Db 
137     128    98    85    72    67    61    55    31  30 
233 


234  MUSIC  AND  HYMNODY 


Methodist  Hymn  Book  (Great  Britain) 

Eb     G      F      D     E    A    C    Bb  Ab  Db 
213    156    134    121    94   84   83    71    69  9 

From  this  it  will  be  observed  that  the  most  popu- 
lar keys  in  both  collections,  G,  Eb,  and  F,  are  those 
of  which  the  tonic  and  dominant  lie  within  the  range 
of  the  usual  speaking  voice.  Among  the  remaining 
keys,  the  Americans  seem  to  have  a  decided  prefer- 
ence for  flats. 

Investigations  in  the  field  of  musical  aesthetics 
have  led  to  the  acceptance  of  the  law  that  the  sev- 
eral keys  are  respectively  adapted  to  express  certain 
emotions  peculiar  to  their  own  nature.  Emil  Pauer 
declares  that  ^'the  key  in  music  is  what  color  is  in 
painting,^'  a  fact  recognized  by  Plato  and  Aristotle. 
Thus,  he  finds  that  the  key  of  C  major  best  expresses 
innocence,  resolve,  manly,  earnest,  and  deep  reli- 
gious feeling;  F  major  reflects  peace,  joy,  religious 
sentiment,  or  passing  regret;  G  major  reveals 
sincere  faith,  quiet  love,  calm  meditation,  simple 
grace,  or  brightness;  D  major  proclaims  majesty, 
grandeur,  pomp;  A  major  voices  confidence, 
loving  hope,  simple  cheerfulness;  E  major  tells 
of  joy,  magnificence,  splendor;  Ab  major  is  full 
of  sentiment,  dreamy  expression;  Eb  major  gives 
great  variety  from  solemnity  and  courage  to  brilliance 
and  dignity;  Bb  major  is  the  key  of  open  frankness, 
clear  brightness,  quiet  contemplation.  For  this 
theory  in  aesthetics  psychology  has  never  given  a 
satisfactory  reason.  Certain  experiments  tend  to 
disprove  that  this  difference  in  the  tone-color  of  the 


FOKMAL  ELEMENTS  OF  THE  MUSIC  235 


keys  is  produced  by  absolute  pitch,  while,  on  the  other 
hand,  the  tempered  scale  should  leave  no  differences 
between  scales,  save  that  of  pitch.  But  the  fact 
remains  that  in  the  various  keys  a  difference  of 
emotional  adaptability  exists,  and  is  recognized  by 
nearly  all  true  musicians.  The  best  composers  ob- 
serve this  principle  in  their  work.  Our  hymn  tunes 
illustrate  in  many  instances  a  psychological  nicety 
in  the  choice  of  keys. 

Some  composers,  however,  have  utterly  disre- 
garded the  fitness  of  the  keys  to  the  emotional 
intent  of  their  hymns,  while  some  times,  as  they 
have  run  the  gantlet  of  successive  editors,  have 
been  frequently  changed  from  their  original  keys. 
Every  melody  must  be  brought  within  the  range  of 
the  average  soprano;  for  when  it  soars  too  high  it  is 
unfitted  for  congregational  singing.  Frequently  this 
change  from  the  composer^s  original  key  mars  the 
tone-color  of  the  tune. 

Several  tunes  in  the  old  Hymnals,  North  and  South, 
have  been  changed  as  to  their  key  in  the  new  Hym- 
nal. Some  tunes  appear  in  the  new  Hymnal  in  two 
different  keys,  as,  for  instance,  ^^Regent  Square/' 
sung  to  hymns  113  and  169  in  the  key  of  C,  which 
is  emotionally  preferable,  and  to  hymns  25  and  662 
in  the  key  of  Bb,  which  is  more  comfortable  for 
timid  sopranos. 

Between  the  Methodist  Hymnal  and  the  Meth- 
odist Hymn  Book  of  England  there  is  a  difference  in 
the  choice  of  key  for  the  same  tune  in  about  forty 
instances.    In  four  fifths  of  these  differences,  the 


236  MUSIC  AND  HYMNODY 


English  book  has  chosen  the  higher  key,  as  in  the 
case  of  Carey's  ^'National  Hymn''  (our  '^America"), 
to  which  the  Enghshman  chants  his  patriotism 
a  full  major  third  higher  than  the  American, 
singing  in  the  key  of  A  instead  of  our  F.  Thus 
in  the  matter  of  keys,  as  in  other  elements  of 
hymnology,  the  Wesleyan  Church  has  followed, 
more  closely  than  we,  the  advice  of  John  Wesley, 
v/ho  urged  that  Methodist  hjmins  be  sung  in 
a  high  key  in  order  to  reach  the  full  vigor  of 
expression. 

As  we  have  noted,  however,  the  range  of  melody 
should  not  exceed  the  average  compass  of  the 
ordinary  soprano  in  the  congregation.  The  octave 
from  E  to  E  in  the  treble  clef  is  the  limit  of  com- 
fortable singing  for  the  usual  congregation;  and 
melodies  that  keep  well  within  this  limit  have  at 
least  the  benefit  of  simple  range  to  help  them  attain 
popularity.  ^The  Star-Spangled  Banner"  might,  in- 
deed, be  our  national  song,  were  it  not  for  its  un- 
comfortable range  of  an  octave  plus  a  fifth.  Our 
tune  ^^Ewing"  for  ^'Jerusalem  the  golden,"  with  an 
octave  plus  a  third,  leaves  many  a  singer  stranded 
high  and  dry  before  the  sixth  line  is  sung,  while  the 
greatly  inferior  tune  ^^Martyn"  to  '^Jesus,  Lover  of 
my  soul"  can  be  easily  sung  by  a  small  child.  The 
compass  of  the  three  lower  voices  need  not  affect  the 
choice  of  key;  but,  by  skill  in  harmonizing,  these 
parts  should  be  confined  to  certain  average  limits, 
the  alto  within  the  octave  from  A  to  A,  the  tenor 
within  E  and  E,  and  the  bass  within  G  and  C. 


FORMAL  ELEMENTS  OP  THE  MUSIC  237 


Trained  choirs  can  comfortably  exceed  these  Umits, 
but  not  congregations. 

The  Hymnal  may  be  used  as  a  profitable  text- 
book in  the  study  of  the  smaller  forms  of  music. 
The  form  of  nearly  all  of  our  hymn  tunes  is  known 
as  the  period  form.  In  its  simplicity,  a  period  con- 
sists of  two  phrases  of  four  measures  each,  or  eight 
measures  in  all  While  the  musical  phrase  in  its 
regular  form  consists  of  four  measures,  it  may  be 
extended  to  five,  six,  or  seven  measures,  or  con- 
tracted to  three,  or  in  certain  meters  to  two,  the 
end  of  the  phrase  being  denoted  by  a  cadence  (the 
resolution  of  the  harmony  into  a  common  chord  on 
the  keynote). 

Of  these  many  phrase-forms  there  are  abimdant 
examples  among  our  hymn  tunes,  and  to  determine 
to  a  nicety  the  nature  of  each  phrase  is  a  mental 
exercise  profitable  and  interesting  to  the  student 
who  has  mastered  the  principles  of  phrase-formation/ 

The  phrase,  however,  is  not  a  complete  musical 
form.  The  period,  or  one-part  form,  is  the  unit  of 
complete  form  in  music.  When  regular  it  consists 
of  two  phrases,  such  as  we  have  described.  Nearly 
all  of  our  hynm  tunes  are  in  the  period  form,  and, 
owing  to  the  variations  in  its  two  component  parts, 
the  period  form  assumes  a  variety  of  lengths  and 
shapes  in  our  psalmody.  There  are  some  examples 
of  two-part  forms,  especially  among  the  English 
hymn  tunes.    Among  these  may  be  classed  most  of 


^Cf,  "The  Homophonic  Forms  of  Musical  Composition,"  Percj' 
Goetschius. 


238  MTJSIO  AND  HYMNODY 


the  tunes  with  refrain,  the  second  part  being  the 
refrain.  A  very  few  of  the  tunes  are  in  three-part 
form,  the  third  part  being  a  repetition  of  the  first 
part,  as  'The  Good  Fight^'  (418). 

These  three  compass  all  the  forms  exempUfied 
regularly  in  our  Hymnal.  Some  of  the  tunes  seem 
to  bear  evidence  of  the  composer's  lack  of  familiarity 
with  the  laws  of  form.  Still  others  are  difficult  to 
analyze,  as  ^'Ein'  Feste  Burg.'' 

As  an  aesthetic  principle,  repetition  is  regarded  as 
pleasing  in  art.  This  is  especially  evident  in  music 
and  architecture,  although  poetry  and  painting  and 
the  other  arts  also  frequently  illustrate  this  prin- 
ciple. Many  of  our  hymn  melodies  make  effective 
and  pleasing  use  of  repetition.  Only  a  few  of  the 
tunes  repeat  exactly  both  melody  and  harmony  of 
the  first  phrase,  as  ''Ein'  Feste  Burg"  (101),  ''Holy 
Spirit,  faithful  Guide"  (193),  and  "Maidstone"  (469), 
the  last  example  repeating  not  only  the  first  eight 
measures,  but  also  the  second  four  at  the  end.  Repe- 
tition to  be  most  effective  must  be  not  exact,  but 
should  be  combined  with  variation.  In  larger  forms 
of  music  this  variation  is  wrought  out  in  rhythm, 
in  form,  in  orchestration,  and  a  thousand  possible 
embellishments;  in  the  simple  hsnnn  tune  by  (1)  dif- 
ference at  the  end  of  the  repeated  phrase,  or  (2)  in 
the  harmony;  or  by  imitation  of  the  melody,  (3)  in 
contrary  motion,  or  (4)  in  the  sequence. 

(1)  In  the  hymns  Nos.  8,  36,  60,  127,  194,  195, 
615,  and  689  may  be  found  a  repetition  in  the  mel- 
ody of  most  of  the  phrase,  but  a  difference  at  the 


FOKMAL  ELEMENTS  OF  THE  MUSIC  239 


end  of  the  repeated  phrase,  and  often  in  the  few 
notes  preceding  and  preparing  the  cadence.  Some- 
times in  a  repeated  melody  the  variation  extends 
farther  back  than  this,  as  in  Nos.  27,  53,  66,  78,  431, 
621,  640,  675. 

(2)  A  repetition  in  the  melody  with  a  change  in 
the  harmony  is  becoming  more  and  more  the  custom 
to-day,  especially  in  the  English  tunes.  Many  com- 
posers of  the  older  school  would  have  made  no  har- 
monic change  in  repeating  the  melody;  and  even  in 
the  contemporary  times  this  has  been  consistently 
avoided  by  some  composers,  as,  for  example,  Richard 
Redhead.  Nevertheless,  it  adds  to  the  richness  of 
the  music,  and  is  aesthetically  good  usage.  In  illus- 
tration of  this,  note  the  beautiful  effect  which  the 
composer  has  produced  by  clothing  the  melody  of  a 
phrase  in  different  harmony,  when  repeated  in  the  fol- 
lowing hymns:  Nos.  30,  84  (second  half),  97,  and  also 
where  only  a  part  of  the  phrase  is  repeated,  as  in 
Nos.  15,  77,  109,  199,  324,  406,  463  (first),  545 
(first). 

(3)  Imitation  is  sometimes  made  by  inverting  the 
melody.  While  there  are  no  examples  in  the  Hymnal 
of  a  whole  phrase  being  repeated  in  contrary  motion, 
parts  of  the  melody  are  often  repeated  in  inverted 
form.  The  ' 'Italian  Hymn''  (2)  is  planned  through- 
out upon  this  principle.  The  thirteenth  measure  is 
but  an  imitation  of  the  first  and  seventh  upside  down ; 
the  tenth  and  twelfth  a  repetition  of  the  fourth;  the 
fifteenth  a  repetition  of  the  ninth  and  the  eleventh, 
to  each  of  which  measures,  together  with  the  first 


m  MUSIC  AND  HYMNODY 


note  of  the  following  measure,  the  second  and  third 
are  similarly  related.  Thus,  ten  out  of  the  twelve 
active  measures  of  this  melody  are  involved  in  the 
principle  of  repetition. 

(4)  The  most  interesting  form  of  imitative  repe- 
tition is  that  of  sequence  (literally  '^foUowing^'), 
wherein  the  melody  is  repeated  not  upon  the  same 
notes  as  before,  but  upon  other  notes  that  lie  one  or 
more  tones  higher  or  lower  than  the  original  phrase 
or  figure.  In  many  hymns  the  melody  of  the  very 
first  figure  is  repeated  in  sequence,  as  in  Nos.  161,  522, 
566,  591,  603,  704.  In  others,  not  only  the  first 
figure,  but  also  other  figures,  are  thus  repeated:  Nos. 
10,  62, 118, 298,  574,  578,  709.  In  still  others  the  figure 
to  be  repeated  in  sequence  begins  the  second  half  of  the 
tune :  Nos.  48, 130,  382,  387,  456,  518,  525.  Sometimes 
the  figure  is  so  small  as  to  lie  within  the  compass  of 
one  measure,  and  is  repeated  in  sequence  several  times 
in  other  measures:  Nos.  63  (measures  8,  9,  10,  12,  13, 
and  also  in  the  tenor  part),  157,  192  (measures  2,  3, 

8,  9,  10,  11),  224  (measures  8,  9,  10,  11),  362  (meas- 
ures 7,  8,  9),  452  (measures  9,  10,  11),  515  (measures 

9,  10,  11).' 

The  tune  ''America^'  (702)  illustrates  both  se- 
quence and  inverted  imitations.  Hymn  tunes  Nos.  57, 
68,  640,  and  many  others,  illustrate  both  repetition 
and  sequence.  In  fact,  such  frequent  use  is  made  of 
repetitions  in  various  forms  that  there  is  scarcely  a 
tune  in  the  Hymnal  that  does  not  employ  them  to 


1  (The  number  of  the  measures  is  computed  from  the  beginning  of  the 
first  full  measure.) 


FORMAL  ELEMENTS  OF  THE  MUSIC  241 


bind  the  unity  of  the  melody,  and  to  satisfy  the 
aesthetic  demand  for  repetition  in  art. 

The  harmony  of  the  hymn  tunes  is  richer  and 
more  varied  than  in  previous  Methodist  collections, 
and  the  enrichment  proceeds  chiefly  from  the  Eng- 
lish contributions  to  our  psalmody.  It  may  be  said 
also  that  the  harmony  of  the  new  book  is  more 
logical  and,  for  the  most  part,  more  correct.  Such 
banaUties  in  harmony  as  consecutive  perfect  fifths 
or  octaves,  augmented  seconds,  ascending  sevenths 
or  descending  thirds  in  the  chord  of  the  dominant 
seventh,  misspelling  of  chords — these  demand  edi- 
torial alertness  to  recognize  and  correct.  Some- 
times a  composer  is  justified  in  making  an  ex- 
ception to  some  rule  of  harmony,  where  there  is 
good  reason.  Barnby,  anxious  to  establish  some 
ascending  or  descending  line  of  melody  in  one  of 
the  three  lower  parts,  or  to  follow  some  sequence, 
will  often  resolve  a  dominant  seventh  in  unusual 
fashion.  The  first  measures  of  ''Love  Divine'^ 
(355)  and  ''Dunstan'^  (272)  make  beautiful  use  of 
the  otherwise  forbidden  consecutive  octaves  between 
tenor  and  soprano.  A  few  of  the  transgressions 
of  these  simple  laws  of  harmony  in  the  Hymnal 
seem  not  to  be  justifiable. 

We  may  not  dwell  upon  the  meaning  and  use  of 
each  chord;  but  let  us  note  one  or  two  niceties  of 
harmonic  treatment  that  will  serve  to  illustrate  the 
importance  of  the  harmony  and  its  best  usage.  The 
chord  of  the  dominant  seventh  has  become  of  in- 
creasing importance  in  church  music,  since  it  was 


242  MUSIC  AND  HYMNODY 


first  thoroughly  estabhshed  in  the  works  of  Monte- 
verde,  in  1568/  It  is  the  chord  of  longing,  of  aspira- 
tion, and  demands  speedy  resolution  to  the  common 
chord  of  satisfaction.  It  is  less  frequent  in  the  slow, 
dignified  music  of  the  Reformation  than  in  modern 
hymn  tunes,  wherein  resolutions  are  made  more 
rapidly.  When  it  is  consistently  avoided,  however, 
an  effect  of  stately  simplicity  is  heightened,  just  as 
in  Salisbury  Cathedral,  built  throughout  in  the  early 
English  style  of  architecture,  the  noblest  beauty  is 
produced  by  strong,  simple  lines  unembeUished  by 
elaborations  of  the  perpendicular  style.  ^^Marlow'' 
(8),  ^'Winchester  Old^'  (181),  and  ''St.  Anne''  (214) 
contain  no  dominant  sevenths,  while  "Dundee''  (96) 
and  "Old  Hundred"  (16)  contain  only  one  each, 
and  these  were  not  originally  so  written.  "Ewing" 
(612),  "Cobern"  (92),  and  "Gilead"  (202)  have  in- 
tentionally  avoided  the  dominant  seventh  in  several 
places.  Most  of  our  tunes,  however,  abound  in  the 
use  of  this  rich  chord,  and,  as  was  discussed  in  the 
preceding  chapter,  to  the  emotional  enrichment  of 
the  music. 

In  none  of  the  "Amens"  in  the  body  of  the  Hymnal 
is  the  dominant  seventh  used.  This  is  true  because, 
curiously  enough,  not  one  "Amen"  is  written  to  an 
authentic  cadence;  for  the  plagal  cadence  is  used  in 
each  of  the  557  different  tunes.  While  of  the  two 
forms  the  plagal  cadence  is  by  far  the  most 
common  in  the  "Amens"  of  other  hymnals,  it  is 


'Cf.  "The  Evolution  of  Church  Music,"  by  the  Rev.  F.  J.  Humphreys, 
p.  76. 


FOEMAL  ELEMENTS  OF  THE  MUSIC  243 


very  rarely  that  a  book  entirely  omits  the  authentic 
cadence. 

All  of  the  '^Amens/'  with  only  fourteen  excep- 
tions, end  on  the  same  note  as  the  last  note  of  the 
tune.  And  each  ends  on  the  same  chord  as  the  last 
chord  of  the  tune,  except  where  the  tune  ends  in  the 
minor  mode,  in  which  our  editors  have  every  time 
added  a  major  cadence  for  the  ^^Amen/' 

The  harmonies  in  our  Hymnal  are  more  close  than 
one  sometimes  finds  in  the  English  Methodist  Hymn 
Book.  The  tenor  and  bass  rarely  part  company 
farther  than  an  octave,  nor  the  soprano  and  bass 
many  notes  over  two  octaves.  There  is  still  pre- 
served, however,  a  freedom  of  motion  in  all  four 
parts.  As  a  rule,  the  bass  should  move  in  opposite 
direction  from  the  soprano,  whenever  possible  and 
consistent  with  good  harmony.  A  bass  that  runs 
along  on  one  note  robs  the  harmony  many  times  of 
the  interest  it  should  have.  In  the  best  writing  the 
bass  part  has  a  melody  of  its  own  to  sing.  Owing  to 
the  pecuUar  intervals  into  which  the  bass  is  often 
forced,  the  bass  part  could  hardly  be  adapted  for 
the  chief  melody  of  a  hymn  tune,  but  not  so  the 
tenor  part.  The  student  of  harmony  would  find  it 
a  profitable  exercise  to  select  the  tenor  parts  of  the 
following  hymns  for  the  melody  of  a  new  hymn 
tune:  ^^Cross  of  Jesus^'  (98),  ^^Bremen''  (476),  ^'Ein' 
Feste  Burg^^  (101),  ^^Nuremberg^^  (103),  ''St.  Atha- 
nasius''  (77),  ''Munich''  (151);  and  in  harmonizing 
this  tenor  melody  they  can  be  made  to  produce  a 
beautiful  new  hymn  tune.   Such  a  harmonization  of 


244  MUSIC  AND  HYMNODT 


the  tenor  part  of  ^^Cro 
ing  typical  hymn  tune 

ss  of  Jesus'^  yi 

elds  the  follow- 

1  1  r\\ 

-4— r*^n~t- 

H  1  0  1 

 k  b  h  - 

J — j — j= 

-1    ....^  ! 
—IP!  

.1 

•1 — 

-J — X- 

tJ 

^  r  g  r 

 ^  H  4— 

 1  ^  0 — 

-P — k  K— 

— 1  « — 

^  a 

i  ^ 

J  r- 

— 1  

' — ^ — 

*  P — r 

 (=2 — L 

1 

PART  IV 
PRACTICAL  USES  OF  THE  HYMNAL 


245 


CHAPTER  XII 


HOW  TO  USE  THE  HYMNAL 

Preparation — Function  of  Hymns — Omitting  Verses — 
The    Choir — Gospel    Hymns — Hymn  Study 
Classes — Practical  Plans  Outlined 

The  most  essential  condition  for  success  in  the 
intelligent  use  of  the  Hymnal  in  worship  is  prepara- 
tion. Formal  worship  cannot  reach  its  highest  effec- 
tiveness when  a  pastor  habitually  neglects  to  prepare 
his  hymns.  And  the  first  step  toward  preparation 
should  be  a  thorough  general  familiarity  with  the 
Hymnal.  It  is  a  Methodistic  axiom  that  every  pas- 
tor should  know  his  Bible,  his  Hymnal,  and  his 
Discipline;  and  yet  it  is  often  taken  for  granted  that 
the  hasty  search  for  six  hymns  on  Saturday  night  is 
sufficient  for  a  knowledge  of  the  Hymnal.  In  more 
than  one  theological  school  it  is  urged  that  the 
students  form  the  habit  of  spending  at  least  one 
solid  hour  each  week  in  the  study  of  hymns  and 
tunes,  a  habit  to  be  profitably  continued  during 
active  pastoral  days.  Only  by  earnest  study  can 
be  gained  a  practical  familiarity  with  the  hymns, 
their  theology,  their  meaning,  their  music,  and  their 
relative  effectiveness  in  varied  forms  of  worship. 
Later  paragraphs  in  this  chapter  suggest  some 
methods  of  study  for  the  individual  student,  as  well 
as  for  class  study. 

This  educational  preparation  once  thoroughly  ac- 

247 


248  MUSIC  AND  HYMNODY 


complished,  the  choosing  of  hymns  for  particular 
services  becomes  something  of  the  art  which  it 
deserves  to  be.  In  the  more  highly  liturgical  churches 
supreme  attention  is  applied,  as  a  rule,  to  the  con- 
gregational hymns,  the  anthems,  and  the  chants, 
and  their  appropriateness  to  the  central  thought  of 
the  occasion.  This  is  made  the  more  imperative 
because  of  the  rigid  regularity  of  the  Church  calendar 
of  the  Christian  Year.  But  even  where  there  is 
greater  freedom  in  the  forms  of  worship,  as  in 
Methodism,  worshipers  have  a  right  to  expect 
that  the  guidance  of  their  spiritual  thought  through- 
out the  service  has  been  prepared  beforehand  with 
great  care,  and  especially  in  the  matter  of  hymn- 
singing. 

A  spiritual  unity  can  be  produced  throughout  a 
service  of  worship  by  a  careful  and  prayerful  choice 
of  hymns,  each  fitting  the  occasion  and  performing 
some  definite  function  in  the  office  of  worship  and 
instruction. 

Where  there  is  carelessness  or  rude  spontaneity  in 
'  the  choice  of  hymns,  the  fatal  fitness  of  the  hymn  to 
the  situation  is  sometimes  painfully  ludicrous.  At 
Ossining,  New  York,  during  one  meeting  when  the 
church  was  very  cold,  and  it  was  deemed  wise  to 
shorten  the  service  to  protect  the  shivering  congre- 
gation, some  one  inadvertently  started  this  hymn, 

My  all  is  on  the  altar, 
I^m  waiting  for  the  fire. 

A  prominent  member  of  the  New  Jersey  Conference, 


HOW  TO  USE  THE  HYMNAL 


249 


upon  his  return  from  his  honeymoon,  gave  out  from 
his  pulpit  the  hymn  containing  the  verse . 

O  that  I  could  forever  sit 
With  Mary  at  the  Master's  feet! 

Be  this  my  happy  choice,  .  .  . 

To  hear  the  Bridegroom's  voice. 

His  wife's  name  was  Mary;  and,  of  course,  had  he 
read  the  hynm  through  before  choosing  it,  he  would 
have  spared  himself  the  jests  of  his  friends  for  years. 
Many  such  instances  could  be  multiplied,  were  it  not 
so  unwise  to  load  our  hynms  with  these  humorous 
associations. 

In  contrast  to  all  this,  however,  the  very  psy- 
chological principle  of  association  that  sometimes 
awakens  the  sense  of  humor  can  be  and  should  be 
employed  to  intensify  the  spiritual  thought  and 
feeling  of  every  service.  This  does  not  mean  that 
each  hymn  should  be  an  epitome  of  the  sermon  or 
its  central  ideas  (though  at  least  one  such  hymn  is 
often  very  effective),  but,  rather,  that  a  unity  of 
purpose  and  feeling  should  be  sustairxed  throughout 
the  service,  and  that  each  hymn  should  be  chosen 
to  reenforce  the  dominant  theme. 

Each  hymn  in  the  order  of  worship  has  a  different 
psychological  duty  to  perform.  The  function  of  the 
first  hymn  is  clearly  to  create  a  spiritual  atmosphere 
of  reverence  and  a  sense  of  Christian  unity.  Were 
each  worshiper  prepared  for  the  service  of  the  sanc- 
tuary by  private  devotions  at  home,  the  spirit  of 
reverence  would  be  more  intense  at  the  very  begin- 
nhag  of  the  service.  But  this  is  rarely  the  case.  The 


250  MUSIC  AND  HYMNODY 


congregation  usually  assemble  from  their  homes, 
where,  perhaps,  the  last  thoughts  were  of  more  care- 
ful dress,  or  the  Sunday  dinner,  or  some  other 
household  care.  In  passing  through  the  streets  a 
hundred  worldly  thoughts  throng  upon  the  mind, 
each  insisting  upon  being  borne  into  the  place  of 
worship.  In  fact,  the  writer  has  actually  seen  in  the 
church  in  Concord,  Massachusetts,  where  Emerson 
used  to  preach,  men  and  women  bearing  their  Sim- 
day  newspapers  and  mail  into  the  sanctuary,  there 
to  peruse  them  during  the  forepart  of  the  service. 
The  first  opening  hymn  should  be  an  antidote  to  the 
irrelevant,  irreverent,  worldly  atmosphere  that  often 
enshrouds  the  spirit  of  the  churchgoer.  Worship 
should  usually  be  the  theme  of  this  hynrn.  Further- 
more, the  social  sense  of  Christian  fellowship  and 
xmity  in  worship  should  be  awakened  by  the  first 
hymn.  Such  hymns  as  ^^All  people  that  on  earth  do 
dweir'  (16),  '^Come,  ye  that  love  the  Lord^'  (22), 
*^Now  thank  we  all  our  God''  (30),  and  '^Ye  servants 
of  God,  your  Master  proclaim'^  (11)  tend  to  express 
and  arouse  this  idea. 

The  second  hymn  should  usually  be  in  the  nature 
of  a  preparation  for  the  thought  of  the  sermon.  It 
should  be  intense  rather  than  exciting,  quiet  rather 
than  animating.  In  a  peculiar  sense  it  tills  the 
groimd,  preparing  it  for  the  seed  of  the  Word.  If 
ministers  could  reaUze  how  greatly  the  attention  of 
the  congregation  varies  on  successive  Sabbaths  as  a 
result  of  the  second  hymn,  it  would  be  regarded  as  an 
integral  part  of  the  sermon  itself. 


HOW  TO  USE  THE  HYMNAL  251 


However  important  may  be  the  two  preceding 
hymns,  the  great  opportunity  of  the  hour  of  worship 
is  the  closing  hymn.  By  an  appropriate  hymn  at 
the  close  the  message  of  the  preacher  can  often  be 
burned  deep  into  the  hearts  and  memories  of  the 
people;  by  an  inappropriate  hymn  some  of  the 
elements  of  the  message  may  be  dissipated  or  con- 
fused. The  closing  hymn  crowns  and  completes 
that  which  has  been  uttered  before,  and  therefore 
makes  it  a  more  permanent  impression.  This  can 
sometimes  be  strengthened  by  a  reference  to  the 
closing  hymn,  or  a  quotation  of  some  word  or  phrase 
from  the  hymn  toward  the  end  of  the  sermon.  While 
such  a  device  can  be  overworked,  when  judiciously 
employed  it  can  be  made  very  effective. 

These  general  principles  for  the  selection  of  hymns 
may  apply  to  both  morning  and  evening  h5niins.  A 
difference  in  general  character  between  morning  and 
evening  hymns  will  be  more  marked  in  those  churches 
which  observe  a  greater  difference  in  the  nature  of 
the  two  services.  The  morning  service  is  generally 
recognized  as  better  adapted  to  more  profound 
thought  both  in  sermon  and  hymn.  The  Sunday 
evening  service  is  a  problem  in  most  churches,  and 
it  is  being  met  by  making  the  worship  attractive  in 
a  hundred  different  legitimate  ways.  The  vesper 
hour  is  sympathetic  to  the  tender  emotions,  and 
songs  of  heaven  and  our  gentle  hymns  of  rest  in  the 
Lord  often  make  more  beautiful  the  evensong  of 
worship.  Hymn  services,  such  as  are  suggested  in 
the  end  of  this^  book,  are  often  used  to  make  the 


252  MUSIC  AND  HYMNODY 


programme  of  devotions  more  attractive,  and,  under 
wise  and  devout  leadership,  more  helpful  to  many. 

Not  only  the  choice  of  hymns  but  also  the  choice 
of  verses  in  any  given  hymn  is  important.  One 
must  needs  exercise  caution  in  omitting  verses 
from  hymns  to  be  sung.  Each  hymn  in  the  Hymnal 
was  prepared  for  the  purpose  of  being  sung  through- 
out. Therefore  there  is  but  one  hymn  in  the  body 
of  our  hymns  with  as  many  as  nine  verses,  four  with 
eight  verses,  and  fifteen  with  seven  verses;  and 
most  of  these  are  short  verses.  In  spite  of  this,  in 
some  churches  it  is  the  exception  rather  than  the 
rule  to  hear  a  whole  hymn  sung  through  all  its 
verses. 

Perhaps  this  word  of  caution  might  sometimes  be 
applied  to  Hymnal  Commissions.  Our  hymn  (4) 
'The  God  of  Abraham  praise"  has  been  made  out 
of  three  other  hymns  in  the  old  Hymnal  (originally 
one  hymn,  as  written  by  Thomas  Olivers).  To 
accomplish  this,  verses  have  been  omitted,  but  with 
strange  effect.  The  last  two  lines  of  verse  four 
runs  thus: 

And  trees  of  life  forever  grow, 
With  mercy  crowned. 

The  following  verse  begins: 

Before  the  great  Three-One 

They  all  exulting  stand, 
And  tell  the  wonders  he  hath  done 

Through  all  their  land. 

Poor  OUvers  would  have  been  horrified  to  see  such  a 
hiatus,  making  the  pronoun  ''they"  refer  to  ''trees/' 


HOW  TO  USE  THE  HYMNAL 


268 


instead  of  ''his  own/'  "his  saints  in  light/'  as  would 
be  clearly  seen  were  the  omitted  verses  in  evidence. 

The  most  deplorable  instance  of  faulty  omission 
in  editing  the  Hymnal  is  to  be  foimd  in  ''Glorious 
things  of  thee  are  spoken''  (210),  where  the  editors 
have  repeated  the  first  four  Unes  at  the  end,  instead 
of  the  four  lines  that  Newton  wrote,  rounding  out 
the  real  meaning  of  the  hymn  so  beautifully: 

He  who  gives  us  daily  manna, 

He  who  listens  to  our  cry, 
Let  him  raise  the  glad  hosanna 

Rising  to  this  throne  on  high. 

Greater  pitfalls,  however,  are  dug  by  the  careless 
omission  of  verses  printed  in  the  Hymnal.  Leaders 
of  prayer  meetings,  and  often  of  formal  church  serv- 
ices, are  apt  to  announce  a  hymn,  and  as  if  there 
were  danger  of  monotony  in  singing  too  much  of  the 
same  hymn  they  add:  "We'll  sing  the  first,  second, 
and  last  stanzas,"  or  some  such  glib  formula  for 
skipping,  regardless  of  the  sense  or  nonsense  thereby 
produced. 

If  the  reader  will  sing  "the  first  and  last  verses"  of 
such  hymns  as  Nos.  137,  143,  165,  or  several  others 
with  gaps  in  the  logic,  he  will  appreciate  some  of  the 
thoughtless  effect  produced  by  omitting  essential 
verses.  The  third  verse  of  hymn  79  is  this : 

But  when  we  view  thy  strange  design 

To  save  rebellious  worms, 
Where  vengeance  and  compassion  join 

In  their  divinest  forms; 

And  yet  a  "first-three-verses"  leader  is  Ukely  to 
leave  his  congregation  impending  in  midair  upon 


MUSIC  AND  HYMNODY 


this  uncompleted  thought,  unless  he  reads  over  the 
hymn,  and  discovers  that  the  third  verse  is  impos- 
sible without  the  fourth.  A  similar  catastrophe 
would  occur  if  hymn  115  were  ended  with  the  fifth 
verse,  or  257  with  the  third.  A  pastor  once  gave 
out  the  first  and  last  verses  of  'In  the  cross  of  Christ 
I  glory/'  and  upon  singing  it  was  amazed  to  find 
the  last  verse  exactly  like  the  first,  much  to  the 
congregation's  amusement. 

In  order  to  develop  the  thoughts  of  the  awfulness, 
the  tenderness,  and  the  worshipfulness  of  God,  all 
so  essential  to  the  success  of  H.  Kirke  White's  hymn, 
'The  Lord  our  God  is  clothed  with  might,"  what 
verse  of  the  hymn  could  be  omitted?  or  what  verse 
would  you  omit  from  113  without  slighting  angels, 
shepherds,  sages,  saints,  or  sinners?  Not  long  ago 
at  a  missionary  meeting  we  heard  'Trom  Green- 
land's icy  mountains"  ended  with  the  second  verse: 

In  vain  with  lavish  kindness 

The  gifts  of  God  are  strown; 
The  heathen  in  his  blindness 

Bows  down  to  wood  and  stone. 

To  those  who  were  closely  following  the  thought  of 
the  hymn  the  effect  was  most  depressing.  It  was 
like  ending  a  joyful  symphony  with  a  dirge  move- 
ment. Hymn  183  yields  the  same  pessimistic  effect 
without  the  prayer  of  the  -ast  verse.  The  fourth 
verse  of  ''A  mighty  fortress"  cannot  follow  any 
other  verse  but  the  third,  because  'That  word," 
beginning  the  fourth  verse,  refers  to  "One  little 
word"  of  the  third  verse.  Thus  in  the  practical  use 


HOW  TO  USE  THE  HYMNAL  255 


of  the  Hymnal  if  a  verse  or  two  must  be  omitted, 
it  should  always  be  done  with  care.  How  much 
better  it  is  to  sing  all  the  verses ! 

It  is  wise  for  the  minister  to  confer  occasionally 
with  the  choirmaster  or  organist  in  the  choice  of 
hymns,  especially  if  the  form  r  be  not  a  musician; 
for  in  many  churches  and  by  many  pastors  our 
richest  musical  gems  are  entirely  overlooked,  be- 
cause they  are  new  or  unfamiliar.  After  the  hymns 
are  selected  many  pastors  find  it  profitable  to  meet 
with  the  choir  in  rehearsing  the  hymns,  where  the 
delicacy  of  that  overdelicate  organization  permits  of 
his  presence  (and  the  value  of  a  choir  that  resents 
diplomatic  direction  by  the  pastor  is  highly 
questionable). 

The  ultimate  object  of  frequent  conference  be- 
tween pastor,  choirmaster,  and  choir  should  be  to 
raise  constantly  the  spiritual  efficiency  of  the  hymn- 
singing  and  other  music  of  worship.  This  process 
should  aim  to  elevate  the  taste  of  the  congregation 
and  to  familiarize  them  with  a  wealth  of  good  hymns 
and  tunes  now  unknown  to  them.  This  can  be  done, 
not  all  at  once,  but  gradually,  like  most  other  edu- 
cational methods  that  are  worth  while.  Learning 
new  tunes  can  be  made  very  interesting  or  very 
dull.  One  must  be  temperate  in  this,  but  constantly 
progressive.  In  the  matter  of  new  tunes  some 
churches  actually  display  laziness;  others,  in  their 
zeal  for  novelty,  rarely  repose  in  the  restful  strains 
of  the  good,  old  tunes.  A  happy  medium  between 
the  two  produces  the  best  results.    A  new  tune 


256 


MUSIC  AND  HYMNODY 


should  be  chosen  with  care,  and,  once  learned, 
should  be  frequently  repeated  at  different  services 
until  fixed  and  familiar.  It  is  the  new  tunes,  and 
not  the  new  hymns,  that  pastors  fear  to  choose; 
and  many  a  good  hymn  is  not  available  because  the 
pastor  is  afraid  to  learn  the  tune.  The  musical 
ignorance  of  some  congregations  to-day  is  as  great 
as  the  literary  ignorance  of  some  of  Wesley's  con- 
gregations, to  whom  the  hymns  must  needs  be 
''lined  out''  in  the  ancient  fashion.  But  that  did 
not  deter  Wesley  from  giving  his  congregations 
spiritual  truth  in  noble  poetic  form.  And  as  for  the 
tunes  he  used,  some  of  them  were  much  more  diffi- 
cult than  any  that  may  be  found  in  the  present 
Methodist  Hymnal.  None  of  our  hymn  tunes  are 
too  difficult  for  the  average  congregation  to  learn 
with  the  proper  leadership  and  a  little  patience  and 
persistence. 

One  problem  every  minister  is  obliged  to  face,  and 
that  is  the  use  of  the  gospel  hymns.  In  some  churches 
there  is  a  constant  temptation  to  use  them  almost 
exclusively,  ''because  everyone  knows  them."  Gos- 
pel hymns  are  often  effective  in  bringing  men  to 
their  senses,  in  driving  home  conviction,  in  pointing 
the  way  to  the  cross;  and  many  a  man  can  testify 
from  his  own  experience  to  the  helpfulness  of  the 
gospel  hymn.  But  for  men  who  are  growing  in 
mind  and  soul  under  the  developing  influence  of 
Christian  experience  they  yield  only  a  weak  spiritual 
pabulum.  Their  nourishing,  enriching  power  is  too 
meager  and  unsatisfying  for  a  steady  diet. 


HOW  TO  USE  THE  HYMNAL  257 


Furthermore,  the  constant  use  of  hymns,  weak  in 
thought  and  expression,  tends  to  thoughtless  singing, 
or  the  bad  habit  too  prevalent  among  congregations 
of  singing  one  thing  while  thinking  of  something 
else.  The  presence  of  a  few  select  gospel  hymns  in 
the  Hymnal  may  argue  the  adaptability  of  the  book 
to  prayer  meeting  services  and  Sunday  schools,  but 
does  not  indicate  that  these  songs  are  best  fitted  for 
the  Sabbath  services  of  the  sanctuary. 

That  the  Hymnal  is  suitable  for  Sunday  schools 
and  prayer  meetings  has  been  demonstrated  in 
several  churches  where  it  is  so  used  both  in  the  city 
and  the  country  districts.  Some  churches  regularly 
devote  a  part  of  every  midweek  service  to  the  sing- 
ing of  new  hymns,  often  prefaced  by  explanatory 
remarks  by  the  leader  of  the  meeting.  This  widens 
the  hymnological  range  of  the  congregation,  at  the 
same  time  adding  a  novel  interest  to  the  meeting. 
The  chief  argument  for  the  use  of  the  Hymnal  in 
the  Sunday  school  is  that  it  teaches  the  children  to 
memorize  the  truly  great  hymns  of  the  Church. 
This  better  prepares  them  for  the  higher  services  of 
the  Church,  and — what  is  of  inestimable  value — fixes 
in  their  memories  the  doctrinal  teachings  and  essen- 
tial truths  of  our  religion,  so  that  in  most  cases  they 
cannot  be  forgotten.  How  many  Christian  men  and 
women  have  been  helped  in  sorrow,  strengthened  in 
times  of  doubt,  or  led  to  repentance  and  faith  through 
remembering  the  lines  of  some  hymn  learned  in  the 
Sunday  school!  Contrast  with  this  the  prevailing 
custom  of  using  through  every  Sunday  of  the  year 


268  MUSIC  AND  HYMNODY 


a  group  of  weak,  sentimental  songs  to  be  discarded 
as  soon  as  the  binding  of  the  books  wears  out! 
Then  one  can  understand  the  criticism  of  Dr. 
J.  Wilhams  Butcher/  Secretary  of  the  British 
Wesleyan  Sunday  School  Union,  when  he  observed 
that  one  of  the  two  striking  weaknesses  of  the 
American  Sabbath  school  lies  in  its  weak  hymns 
and  poor  tunes. 

One  time-honored  custom  among  Methodists  is 
falling  into  disuse — the  reading  of  the  hymn  before 
singing.  Even  though  it  may  have  had  its  origin 
in  the  ancient  method  of  ^ ^lining  out^^  the  hymn  to 
congregations  that  had  no  hymnals,  nevertheless  it 
has  had  the  effect  of  concentrating  the  thought  of 
the  singers  upon  the  meaning  of  the  words.  Indeed, 
there  are  well-authenticated  instances  on  record  of 
conversions  as  a  direct  result  of  the  eloquent  reading 
of  a  hymn  by  a  pastor  before  singing.  The  art  of 
making  this  a  helpful  spiritual  exercise  is  being 
neglected.  And  this  may  be  partly  due  to  our  sense 
of  hurry,  the  lack  of  time,  the  necessity  of  making 
the  service  comfortably  brief.  But  in  omitting  this 
we  are  neglecting  one  of  the  most  practical  spiritual 
uses  of  the  H5minal.  On  this  subject  the  biography 
of  Calvin  Sears  Harrington,  D.D.,  by  his  wife,  con- 
tains the  observation:  ^^He  wondered  and  grieved  at 
the  modern  fashion  of  merely  naming  the  hymn  for 
the  Sabbath  service;  he  thought  so  much  effect  was 
produced  by  the  careful  reading  of  those  words  of 

iCf.  Article  "The  Sunday  School  in  America  and  Great  Britain: 
A  Contrast  and  an  Impression,"  by  the  Rev.  J.  Williams  Butcher,  in  the 
Sunday  School  Journal,  New  York,  March,  1909. 


HOW  TO  USE  THE  HYMKAL  259 


doctrine,  of  worship,  of  praise,  of  holy  devotion.  It 
was  to  him  a  means  of  grace  that  he  wished  all  to 
enjoy/' 

Many  of  the  richest  resources  of  the  Methodist 
Hymnal  are  left  untouched  by  the  pastor  who 
confines  his  use  of  the  book  to  the  six  hymns  in  the 
formal  services  of  the  Sabbath.  The  hmnan  mind 
takes  pleasure  in  classifications;  and  by  employing 
groups  of  hjnnns  bearing  upon  some  given  subject 
or  related  to  each  other  in  origin  or  form,  a  him- 
dred  bright,  interesting,  helpful*  services  can  be 
arranged  for  Simday  evenings  or  prayer  meetings, 
that  would  familiarize  the  congregation  with  our 
hymnology  and  accustom  them  to  singing  hymns 
with  greater  attention  to  their  meaning.  A  few  of 
the  many  possible  services  with  the  Hymnal  we 
suggest  in  subsequent  pages  in  the  hope  that  they 
may  lead  pastors  and  people  to  a  freer  use  of  the 
Hymnal. 

A  Hymn-Quoting  Service 

Some  of  the  most  successful  midweek  prayer 
meetings  have  taken  as  their  theme,  ^^My  Favorite 
Hymn,  and  Why.^'  Using  the  Methodist  Hymnal 
in  prayer  meeting  would  be  an  innovation  in  some 
churches,  but  it  is  worth  while  for  a  service  of  this 
kind.  After  singing  several  of  the  old,  old  favorites, 
and  after  a  season  of  prayer,  the  pastor  may  speak 
of  the  power  of  hymns  over  the  souls  of  men  to 
draw  them  nearer  to  the  Saviour.  Then,  after  more 
singing,  the  meeting  can  be  profitably  thrown  open 


260  MUSIC  AND  HYMNODY 


for  any  to  speak  upon  the  question  proposed.  Usually 
this  is  such  a  popular  subject  that  the  speakers 
must  be  limited  to  short  testimonies.  For  hymns 
to  be  used  in  a  service  of  this  kind  it  is  well  to  choose 
only  the  old  favorites.  William  T.  Stead,  in  his 
^'Hjnnns  that  Have  Helped/'  tells  of  a  popular  vote 
conducted  by  one  of  the  religious  joiu-nals  of  Eng- 
land, The  Simday  at  Home,  on  the  hundred  English 
hymns  that  are  most  esteemed.  Those  receiving 
the  highest  nxmiber  of  votes  were:  1.  Rock  of  Ages 
(3,215  votes).  2.  Abide  with  me.  3.  Jesus,  Lover 
of  my  soul.  4.  Just  as  I  am  (these  three  receiving 
about  3,000  votes  each).  The  next  highest  were: 
5.  How  sweet  the  name  of  Jesus  sounds!  6.  My 
God,  my  Father,  while  I  stray.  7.  Nearer,  my  God, 
to  thee.  8.  Sun  of  my  soul.  9.  I  heard  the  voice  of 
Jesus  say.    10.  Art  thou  weary,  art  thou  languid? 

Sometimes  after  a  ringing  testimony  concerning 
some  well-known  hymn,  it  is  well  to  start  the  singing 
of  the  hymn  (with  or  without  the  instrument). 

A  Hymn-Memory  Contest 

In  Simday  schools,  or  Epworth  Leagues,  or  some- 
times even  in  the  church  at  large,  it  is  helpful  as 
a  stimulus  to  memorizing  the  hymns  to  hold  a 
hymn-memory  contest.  It  should  be  announced  at 
least  a  month  before;  better  still,  three  months 
before  if  the  interest  can  be  sustained.  A  list  of 
fifty  hymns  should  be  published  on  a  bulletin,  or 
printed  slips  of  paper,  from  which  as  many  hjnnns 
are  to  be  learned  as  possible.    When  the  contest 


HOW  TO  USE  THE  HYMNAL  261 


is  held  judges  may  be  appointed.  Each  hymn 
perfectly  recited  should  count  one  himdred  points, 
and  for  each  word  misquoted  or  omitted  in  the 
recital  of  a  hymn  five  points  should  be  deducted 
from  the  one  hundred  possible  points  for  that  hymn. 
No  hymn  in  which  more  than  five  words  are  omitted 
or  misquoted  should  be  counted  at  all.  Thus  seventy- 
five  points  is  the  lowest  count  permissible  for  any 
one  hymn.  The  total  number  of  points  of  each 
contestant  should  be  added,  and  the  one  having 
the  highest  score  wins  the  contest. 

Bishop  Warren's  little  book,  ^Tifty-two  Memory 
Hymns,''  would  be  an  aid  to  each  contestant  and 
judge;  and  as  only  two  of  his  memory  hymns  are 
not  in  the  Methodist  Hymnal,  namely  '^0  the  hour 
when  this  material"  and  ^ There  is  an  eye  that 
never  sleeps,"  his  book  contains  exactly  fifty  hymns 
from  the  Methodist  Hymnal.  This  should  make  the 
ideal  list  of  fifty  in  a  memory  contest.  Their  num- 
bers in  the  Methodist  H5minal  are  as  follows:  198, 
396,  407,  23,  415,  66,  646,  109,  637,  461,  137,  236, 
446,  682,  186,  612,  375,  537,  533,  148,  107,  159,  373, 
702,  535,  518,  449,  540,  68,  363,  350,  153,  188,  214, 
189,  502,  385,  139,  348,  207,  233,  136,  99,  416,  98, 
92,  636,  128,  141,  392. 

Sermon  Series  Illustrated  with  Hymns 

An  almost  imlimited  number  of  sermon-series 
could  be  devised,  illustrating  doctrines  as  taught 
by  the  hymns,  or  using  hymns  as  illustrations  of 
the  subject-matter. 


262  MUSIC  AND  HYMNODY 


Christ  in  Song 
Rev.  J.  Lyon  Caughey  once  successfully  used  a  series  of 
sermons  on  *The  Characteristics  of  Christ  Expressed  in 
Song."  On  five  successive  Sunday  nights  his  themes  were: 
(1)  The  Best  Friend,  (2)  The  Living  Lord,  (3)  The  Perfect 
Saviour,  (4)  The  Light  of  Life,  (5)  The  Hope  of  the  World. 
Each  theme  was  elaborately  illustrated  by  the  singing  of 
hymns  from  the  Hymnal. 

Church  History 
An  interesting  series  of  sermons  might  be  preached  on 
'^Church  History,"  illustrating  it  by  hymns  from  different 
theological  periods. 

1.  The  Pre-Reformation  Church. 

Greek  Hymns:  616,  672. 

Latin  Hymns:  166,  533,  612,  614,  599,  125,  483. 

2.  The  Reformation. 

Hymns  by  Luther:  641  and  101. 

Later  German  Chorales  (which  are  Lutheran  in  form 
and  spirit,  if  not  in  date) :  30,  476,  151,  93. 

3.  The  Moravians  and  their  Influence  on  Methodism. 

Count  Zinzendorf  and  others:  148,  359,  221,  225,  435, 
273,  252,  333,  345,  305. 

4.  The  Wesley  an  Revival. 

Charles  Wesley:  463,  1,  466,  111,  511,  181,  262,  256, 
355,  310,  301. 

5.  Modern  Evangelism. 

272,  284,  329,  325,  334,  544,  548,  551,  383. 

Evenings  with  the  Great  German  Composers 
Upon  these  occasions  the  choir  and  organist  may  render 
larger  selections,  vocal  and  instrumental,  from  the  composer 
under  discussion. 

1.  Ludwig  von  Beethoven  (1770-1827). 

Use  Hymns:    160,  518,  423,  204,  131,  88  (second 
tune),  40  (in  the  order  named). 

2.  Francis  Joseph  Haydn  (1732-1809). 
Johann  C.  W.  Adameus  Mozart  (1756-91). 

Haydn's  tunes:  106,  105,  84,  210. 
Mozart's  tunes:  80,  458,  378. 

3.  Felix  J.  L.  Mendelssohn-Bartholdy  (1809-47). 

Use  Hymns:  43,  116,  379,  151,  273,  111. 

4.  Georg  Frederic  Handel  (1685-1759). 

Use  Hymns:  298,  182,  586,  115,  370,  107  (second  tune). 


HOW  TO  USE  THE  HYMNAL  263 


5.  Carl  Maria  von  Weber  (1786-1826). 
Robert  Alexre  Schumann  (1810-56). 
Weber's  tunes:  524,  267,  545  (second  tune). 
Schumann's  melodies:  127,  435. 

Evenings  with  the  English  Hymnists 

1.  Charles  Wesley.    Hymns:  1  (his  conversion),  643  (his 

preaching),  463,  511,  181,  262,  355,  746  (his  death- 
see  pages  69  and  228). 

2.  John  Wesley.   Hymns:  45,  624— Translations,  148,  221, 

225,  305,  333,  345. 

3.  Isaac  Watts.    Hymns:  5.  71,  107,  141,  146,  393,  577,  604. 

4.  William  Cowper.    Hymns:  37,  96,  198,  211,  291,  454, 

492,  496. 

5.  Philip  Doddridge.  Hymns:  100,  108,  230,  233,  288,  312, 

396,  429. 

6.  John  Newton.  Hymns:  69,  92, 137,  210,  309,  507,  538,  574. 

7.  James  Montgomery.    Hymns:  97,  113,  188,  397,  431, 

448  (second  tune),  497,  646. 

A  Musical  Programme 
For  an  entertainment,  Epworth  League  meeting, 
or  prayer  meeting,  consisting  of  larger  musical  com- 
positions from  which  hymn-tunes  have  been  taken 
(see  pages  196,  197,  198,  199). 

1.  Piano  Solo — Andante  movement.  Sonata,  Opus  14,  No. 

2 — Beethoven.    Hymn  131. 

2.  Tenor  Solo — Recitative  from  Oratorio  *  ^Messiah,"  ''Com- 

fort ye' —Handel    Hymn  107. 

3.  Piano    Solo — Song  without   Words,  Book  2,  No.  3, 

"Consolation'' — Mendelssohn,    Hymn  43. 

4.  Contralto  Solo — Oratorio  ''Messiah/'  "I  know  that  my 

Redeemer  liveth" — Handel,    Hymn  370. 

5.  Piano  Solo — Song   without    Words,  Book  3,   No.  6, 

"Duet" — Mendelssohn,    Hymn  379. 

6.  Tenor   Solo— Oratorio   "Elijah,"    "If   with   all  your 

hearts" — Mendelssohn,    Hymn  116. 

7.  Piano  Solo — 'Xast  Hope" — Gottschalk,    Hymn  562. 

8.  Piano     Solo— "  Nachtstiick,"     Opus     23,    No.  4— 

Schumann.    Hymn  42. 

Sometimes  the  hymn  is  sung  after  each  program  number, 


264  MUSIC  AND  HYMNODY 


Special  Hymnal  Services  with  Responsive 
Readings 

The  following  services  may  be  used  in  the  regular 
Sunday  evening  worship  of  the  church,  in  the  prayer 
meetings,  Epworth  League  devotional  meetings,  etc. 
Indeed,  many  of  them  have  already  been  used  by 
the  author  and  others  in  such  meetings.  Under 
each  number  or  subdivision  a  passage  of  Scripture 
is  given.  These  may  be  read  responsively  by  the 
leader  and  congregation,  if  Bibles  have  been  liberally 
distributed;  or  they  may  be  read  by  different  indi- 
viduals, to  whom  the  leader  has  previously  assigned 
these  passages. 

Under  each  subdivision  a  hymn  has  been  men- 
tioned that  is  peculiarly  appropriate  to  the  subject. 
Many  have  marveled  that  our  Hymnal  touches  upon 
so  many  different  themes.  Some  of  these  hymn-times 
are  old,  some  are  new.  The  pastor  or  leader  should 
not  hesitate  to  sing  the  new  times,  as  these  would 
broaden  the  melodic  range  of  his  congregation. 

At  the  end  of  each  service  is  added  some  topic 
for  general  discussion  which  may  be  used  effectively 
in  a  prayer  meeting.  The  best  results  can  be  secured 
if  the  leader  assigns  this  subject  beforehand  to 
several  people,  who  shall  come  prepared  to  speak 
upon  it.  In  the  case  of  the  Old  Testament  or  New 
Testament  heroes  it  adds  to  the  interest  to  assign 
a  different  character  to  each  speaker,  according  to 
his  own  selection. 

Note. — Some  of  these  services  with  Responsive  Readings,  published 
separately  by  the  Methodist  Book  Concern,  may  be  secured  upon 
application 


HOW  TO  USE  THE  HYMNAL 


265 


1.  The  Birth  of  Christ 

1.  Prophecy.    Isa.  9.  2-7. 

H3nim  116,  *'Come,  thou  long-expected  Jesus." 

2.  The  Birth-Place.    Luke  2.  1-7. 

Hymn  121,  '^O  little  town  of  Bethlehem." 

3.  The  Night.    Isa.  8.  22  and  9.  1-2. 

Hymn  123,  ^^Silent  night!    Holy  night!" 

4.  The  Mother.    Luke  1.  46-55  (The  Magnificat). 

Hymn  112  (second  tune,  verses  1,  2),  ^'There's  a  song 
in  the  air!" 

5.  The  Shepherds.    Luke  2.  8-12. 

Hymn  115  (verses  1,  4),  "While  shepherds  watched 
their  flocks." 

6.  The  Angels.    Luke  2.  13-19. 

Hymn  113,  "Angels  from  the  realms  of  glory." 

7.  The  Gloria.    Read  the  Gloria  in  Excelsis,  Hymn  No.  742. 

Hymn  120,  "Long  years  ago  o'er  Bethlehem's  hills." 

8.  The  Wise  Men.    Matt.  2.  1-11. 

Hymn  114  (verses  1,  3,  4),  "Brightest  and  best  of 
the  sons." 

9.  The  Mission  of  Joy  and  Love.    John  3.  13-21. 

Hymn  107,  "Joy  to  the  world!  the  Lord  is  come." 

10.  The  Appeal  to  Our  Hearts.    John  15.  7-16. 

Hymn  122,  "Thou  didst  leave  thy  throne  and  thy 
kingly  crowii  ," 

Topic  for  Discussion:  "What  does  Christmas  Mean  to  You?" 


266  MUSIC  AND  HYMNODY 

2.  The  Life  of  Christ 

Opening  Hymn,  138,  ''Christ's  life  our  code,  his  cross  our 
creed/' 

1.  His  Birth.    Luke  2.  8-20. 

Hymn  112  (second  tune),  "There's  a  song  in  the  air!" 

2.  His  Childhood.    Luke  2.  40-52. 

Hymn  678  (5th  and  6th  verses),  ''O  Thou,  whose  infant 
feet  were  found." 

3.  His  Preaching.    Luke  4.  15-22. 

Hymn  290,  ''How  sweetly  flowed  the  gospel's  sound!" 

4.  His  Miracles.    Matt.  4.  23-25. 

Hymn  695,  "When  Jesus  dwelt  in  mortal  clay." 

5.  His  Transfiguration.    Matt.  17.  1-8. 

Hymn  129,  "The  chosen  three  on  mountain  height." 

6.  His  Love  for  Little  Children.    Mark  10.  13-16. 

Hymn  230,  "See  Israel's  gentle  Shepherd  stand." 

7.  Palm  Sunday.    Mark  11.  1-10. 

Hymn  150,  "Ride  on,  ride  on  in  majesty!" 

8.  The  Last  Supper.    Mark  14.  12-26. 

Hymn  235,  "Jesus  spreads  His  banner  o'er  us." 

9.  His  Passion.    Mark  14.  32-42. 

Hymn  147,  '"Tis  midnight;  and  on  Olive's  brow." 

10.  The  Cross.    Mark  15.  22-39. 

Hymn  142,  "Behold  the  Saviour  of  mankind." 

11.  His  Resurrection.    Mark  16.  1-14. 

Hymn  156,  "Christ  the  Lord  is  risen  to-day." 

12.  His  Ascension.    Acts  1.  1-11. 

Hymn  161,  "Rise,  glorious  Conqueror,  rise." 

Closing  Hjonn,  180,  "All  hail  the  power  of  Jesus'  name!" 

Topic  for  Discussion:  "Is  the  Historic  Christ  a  Reality 
to  You?" 


HOW  TO  USE  THE  HYMNAL           267  \ 

4 

3.  The  Parables  of  Christ  | 

Opening  Hymn,  290,  *^How  sweetly  flowed  the  gospel's  \ 

sound!"  I 

I 
i 

1.  The  Solid  Rock.   Matt.  7.  24-27.  j 

Hymn  330,  "My  hope  is  built  on  nothing  less."  I 

2.  The  Sower  and  His  Seed.    Matt.  13.  1-12.  | 

Hymn  221,  '*High  on  his  everlasting  throne."  j 

3.  Who  is  My  Neighbor?    Luke  10.  25-37.  | 

Hymn  690,  ''Who  is  thy  neighbor?"  \ 

4.  The  Feast.    Luke  14.  15-24.  | 

Hynm  256,  "Come,  sinners,  to  the  gospel  feast."  j 

5.  The  Prodigal  Son.    Luke  15.  11-32.  ] 

Hymn  255,  "Return,  O  wanderer,  return."  ! 

6.  Lazarus,  the  Poor  Man.    Luke  16.  19-31.  j 

Hynm  628  (3d  verse),  "While  here,  a  stranger  far  from  \ 

home."  ! 

7.  The  Lost  Sheep.    Luke  15.  1-7.  ' 

Hymn  300,  "I  was  a  wandering  sheep."  i 

8.  The  Wise  and  Foolish  Virgins.    Matt.  25.  1-13.  ] 

Hymn  429,  "Ye  servants  of  the  Lord"  (1st  two  verses).  \ 

9.  The  Talents.    Matt.  25.  14-30.  | 

Hymn  597,  "Servant  of  God,  well  done!"  (1st  verse  i 

only).  I 

'] 

Closing  Hymn,  127  (1st  and  last  verses),  "How  beauteous  | 

were  the  marks  divine."  j 

Topic  for  Discussion;  "What  is  Your  Favorite  Parable?''  | 

■  ■ 


268  MUSIC  AND  HYMNODY 


4.  The  Miracles  of  Christ 

1.  The  Marriage  Feast  at  Cana.    John  2.  1-11. 

Hymn  667  (1st  verse  only),  "Since  Jesus  freely  did 
appear.'' 

2.  Healing  the  Sick.    Matt.  8.  14-17. 

Hymn  54  (1st,  2d,  and  6th  verses),  *'At  even  ere  the 
Sim  was  set." 

3.  Stilling  of  the  Tempest.    Mark  4.  35-41. 

Hymn  485,  "Fierce  raged  the  tempest  o'er  the  deep." 

4.  Healed  by  the  Hem  of  His  Garment.    Mark  5.  24-34. 

Hymn  696  (3d  and  4th  verses),  "And  Christ  was  still 
the  healing  friend." 

5.  Feeding  the  Multitude.    Matt.  14.  14-21. 

Hymn  325,  "Break  thou  the  bread  of  life." 

6.  Walking  on  the  Sea.    Matt.  14.  24-33. 

Hymn  61  (3d  verse),  "Thou,  who  in  darkness  walking 
didst  appear." 

7.  The  Raising  of  Lazarus.    John  11.  32-45. 

Hymn  134  (1st  and  5th  verses),  "When  gathering 
clouds  around  I  see." 

8.  The  Miracle  of  the  Resurrection.    John  20.  1-9. 

Hymn  157,  "The  Lord  is  risen  indeed." 

9.  The  Ascension.    Luke  24.  50-53. 

Hymn  170,  "He  is  gone;  a  cloud  of  light." 

10.  Salvation— The  Greatest  Miracle.    Luke  24.  39-43. 
Hymn  289,  "Of  Him  who  did  salvation  bring." 

Closing  Hymn,  512  (1st  two  verses),  "To  God  in  e^^ery  want.'* 

"In  shouts,  or  silent  awe,  adore 
His  miracles  of  grace." 

Topic  for  Discussion :  "What  is  the  Most  Impressive  Miracle?" 


HOW  TO  USE  THE  HYMNAL  269 


5.  The  Beatitudes 

Opening  Hymn,  502,  "Prayer  is  appointed  to  convey 

The  blessings  God  designs  to  give/' 

Prayer. 

Responsive  Reading:  Matt.  5.  1-12. 

(After  the  responsive  reading,  let  the  congregation  recite 
in  unison  each  beatitude  before  singing  the  hymn;  also 
the  leader  may  make  some  introductory  conunents  upon 
each  beatitude  in  turn.) 

1.  Blessed  are  the  poor  in  spirit:  for  theirs  is  the  kingdom 

of  heaven. 

Hymn  472,  "I  bow  my  forehead  in  the  dust/' 

2.  Blessed  are  they  that  mourn :  for  they  shall  be  comforted. 

Hynm  526,  "Come,  ye  disconsolate." 

3.  Blessed  are  the  meek:  for  they  shall  inherit  the  earth. 

Hymn  685,  "Jesus,  meek  and  gentle." 

4.  Blessed  are  they  which  do  hunger  and  thirst  after  right- 

eousness :  for  they  shall  be  filled. 
H3rmn  233,  "The  King  of  heaven  his  table  spreads." 

5.  Blessed  are  the  merciful :  for  they  shall  obtain  mercy. 

Hymn  378  (beginning  with  3d  verse),  "That  I  thy 
mercy  may  proclaim." 

6.  Blessed  are  the  pure  in  heart :  for  they  shall  see  God. 

Hymn  360,  "Blest  are  the  pure  in  heart." 

7.  Blessed  are  the  peacemakers:  for  they  shall  be  called  the 

children  of  God. 
Hymn  707,  "God,  the  All-Terrible!" 

8.  Blessed  are  they  which  are  persecuted  for  righteousness' 

sake :  for  theirs  is  the  kingdom  of  heaven. 
Hymn  432  (beginning  with  3d  verse),  "Who  suffer 
with  our  Master  here." 

9.  Blessed  are  ye,  when  men  shall  revile  you,  and  persecute 

you,  and  shall  say  all  manner  of  evil  against  you 
falsely  for  my  sake.    Rejoice,  and  be  exceeding  glad: 
for  great  is  your  reward  in  heaven:  for  so  persecuted 
they  the  prophets  which  were  before  you. 
Hymn  415,  "Faith  of  our  fathers!" 


Topic  for  Discussion:  "Your  Favorite  Beatitude." 


270  MUSIC  AND  HYMNODY 

6.  The  Lord's  Prayer 

Opening  Hymn,  497,  "Prayer  is  the  souFs  sincere  desire." 
Prayer  (followed  by  the  Lord's  Prayer  in  concert). 

(This  service  may  be  used  in  the  same  way  as  the  service 
on  "The  Beatitudes''  with  comments  by  the  leader  upon 
each  phrase,  or  each  topic  may  be  assigned  to  a  different 
person  for  three  minutes.) 

1.  Om-  Father  who  art  in  heaven. 

Hymn  79  (4  verses),  "Father,  how  wide  thy  glory 
shines!" 

2.  Hallowed  be  thy  name. 

Hymn  180,  "All  hail  the  power  of  Jesus'  name!" 

3.  Thy  kingdom  come. 

Hymn  208,  "I  love  thy  kingdom,  Lord." 

4.  Thy  will  be  done  in  earth,  as  it  is  in  heaven. 

Hymn  524,  "My  Jesus,  as  thou  wilt." 

5.  Give  us  this  day  our  daily  bread. 

Hymn  325,  "Break  thou  the  bread  of  life." 

6.  Forgive  us  our  trespasses,  as  we  forgive  them  that  tres- 

pass against  us. 
Hymn  98,  "There's  a  wideness  in  God's  mercy." 

7.  Lead  us  not  into  temptation. 

Hymn  431,  "In  the  hour  of  trial." 

8.  Deliver  us  from  evil. 

Hymn  577  (1st  two  verses),  "O  God,  our  help  in  ages 
past." 

9.  Thine  is  the  kingdom. 

Hymn  527,  "The  kingdom  that  I  seek  is  thine." 

10.  The  power. 

Hymn  2,  "Come,  thou  almighty  King.'' 

11.  The  glory. 

Hymn  49,  "Glory  to  thee,  my  God." 

Topic  for  Discussion:  "The  Power  of  Prayer." 


HOW  TO  USE  THE  HYMNAL  271 
7.  The  Name  of  Christ 

1.  Revelation  of  His  Name.    Gen.  32.  24-30. 

Hymn  511  (verses  1,  3,  6),  ''Come,  O  thou  Traveler 
unknown.'' 

2.  Salvation  through  His  Name.    Acts  4.  8-12. 

Hymn  1  (verses  3,  4),  ''Jesus!  the  name  that  charms 
our  fears!'' 

3.  Strength  against  Temptation.    Prov.  18.  10;  Acts  3. 

13-16. 

Hynm  363  (verses  4,  5),  "0,  utter  but  the  name  of 
God." 

4.  A  Foundation  for  Character.    Col.  3.  14-17. 

Hjmin  330  (verses  1,  3),  "My  hope  is  built  on  nothing 
less." 

5.  The  Name  Victorious.    2  Chron.  14.  7-12. 

Hymn  11  (verses  1,  2),  "Ye  servants  of  God." 

6.  The  Supremacy  of  His  Name.    Psa.  113.  1-5;  Eph.  1.  21. 

Hymn  222  (verses  1,2),  "Jesus,  the  name  high  over  all." 

7.  A  Name  to  Trust.    Psa.  9.  7-10. 

Hynm  441  (verses  1,  2),  "I'm  not  ashamed  to  own 
my  Lord." 

8.  A  Name  to  Love.    Psa.  72.  17-19. 

Hymn  137,  "How  sweet  the  name  of  Jesus  sounds!" 

9.  A  Precious  Name.    1  Pet.  2.  1-7. 

Hjnnn  508,  "Take  the  name  of  Jesus  with  you." 

Prayer. 

Closing  Hynm,  354  (verses  1,  5),  "0  for  a  heart  to  praise 
my  God." 

Topic  for  Discussion:  "Which  Name  Apphed  to  Christ  is 
Dearest  to  You?" 


272  MUSIC  AND  HYMNODY 

8.  The  Resurrection 

1.  Palm  Sunday.    Matt.  21.  1-11. 

Hymn  150,  ''Ride  on,  ride  on,  in  majesty." 

2.  Gethsemane.    Matt.  26.  36-46. 

Hymn  147,  ''Tis  midnight;  and  on  Olives'  brow.'' 

3.  The  Crucifixion.    Mark  15.  24-39. 

Hymn  146,  ''Alas!  and  did  my  Saviour  bleed?" 

4.  The  Return  from  the  Cross.    Matt.  27.  55-66. 

Hjrnm  152  (verses  1,  4),  "O  come  and  mourn  with 
me  awhile." 

5.  The  Dawn  of  Easter  Day.    John  20.  1-13. 

Hymn  166,  "Welcome,  happy  morning!" 

6.  Christ  Forsakes  the  Tomb.    John  20.  14-17. 

Hymn  165  (verses  3,  4,  5),  "The  rising  God  forsakes 
the  tomb." 

7.  His  Friends  Learn  of  the  Resurrection.    John  20.  18-29. 

Hymn  159,  "Lift  your  glad  voices." 

8.  The  Significance  of  Easter.    1  Cor.  15.  12-22. 

Hjonn  156,  "Christ  the  Lord  is  risen  to-day." 

9.  A  Spiritual  Release  for  Israel.    Acts  3.  18-26. 

H}Tnn  163,  "Come,  ye  faithful,  raise  the  strain." 

10.  Job's  Faith  in  Immortality.    Job  19.  25-27. 

Hymn  168,  "I  know  that  my  Redeemer  lives." 

11.  The  Coronation  of  Christ.    Rev.  5.  8-13. 

Hymn  169,  "Look,  ye  saints,  the  sight  is  glorious." 

Topic  for  Discussion:  "The  Comfort  and  Hope  Begotten  by 
the  Resurrection  of  Christ." 


HOW  TO  USE  THE  HYMNAL  273 
9.  Old  Testament  Heroes 

1.  The  Saints  of  Old.   Heb.  11.  13-16. 

Hymn  187,  "O  for  that  flame  of  living  fire!" 

2.  Abraham— the  Friend  of  God.    Gen.  22.  15-18. 

Hjonn  4,  "The  God  of  Abraham  praise"  (1st,  2d,  and 
6th  verses). 

3.  The  Faith  of  Job.    Job  2.  1-3. 

Hymn  370,  "I  know  that  my  Redeemer  lives." 

4.  The  Victory  of  Jacob.    Gen.  32.  24-30. 

Hymn  511,  "Come,  O  thou  traveler  unknown." 

5.  The  Vision  of  Moses.    Deut.  34.  1-5. 

Hymn  604,  "There  is  a  land  of  pure  delight." 

6.  The  Obedience  of  Samuel.    1  Sam.  3.  1-19. 

Hymn  674,  "Hushed  was  the  evening  hymn." 

7.  The  Harp  of  David.    1  Sam.  16.  19-23. 

Hymn  71,  "Sweet  is  the  work,  my  God,  my  King" 
(2  verses). 

8.  The  Twenty-third  Psalm.    Psa.  23  (in  concert). 

Hymn  136,  "The  King  of  love  my  Shepherd  is." 

Closing  H)aim,  12,  "O  Thou  to  whom,  in  ancient  time. 

The  lyre  of  Hebrew  bards  was  strung." 


Topic  for  Discussion:  "Your  Favorite  Old  Testament  Hero." 


274  MUSIC  AND  HYMNODY 

10.  New  Testament  Heroes 

Opening  Hymn,  Thanks  for  the  Saints. 

Hymn  14  (second  tune,  verses  1,  2,  3,  5),  '*To  thee, 
Eternal  Soul/' 

The  Apostles. 

Peter,  James,  and  John.    Matt.  17.  1-8. 

Hymn  129,  'The  chosen  three  on  mountain  height/' 
A  Tempest  on  the  Sea.    Mark  4.  36-41. 

Hymn  485,  'Tierce  raged  the  tempest.'^ 
The  Last  Supper.    Matt.  26.  19-30. 

Hymn  233,  'The  King  of  heaven  his  table  spreads.^' 
The  Disciples  at  Emmaus.    Luke  24.  13-21  and  28-32. 

Hymn  50,  "Abide  with  me!'' 

Johriy  the  Disciple,  Whom  Jesus  Loved.    John  13.  23-26. 
H5nnan  368  (verses  1,  2,  5),       Love  divine,  how  sweet 
thou  art!" 

Peter,  the  Apostle. 

Penitence.    Luke  22.  54-62. 

Hymn  491,  "Jesus,  let  thy  pitying  eye/' 
In  Prison.    Acts  5.  17-23. 

Hymn  310  (verses  4,  5),  "Long  my  imprisoned  spirit 
lay.^^ 

Stephen,  the  Martyr.    Acts  7.  54-60. 

Hymn  416,  "The  Son  of  God  goes  forth  to  war." 

Paul,  the  Saint. 

His  Inspiration.    Phil.  4.  10-20. 

Hymn  187  (verses  1,  2),  "O  for  that  flame  of  living 
fire!" 

His  Preparation.    Eph.  6.  10-17. 

Hymn  397,  "Behold!  the  Christian  warrior  stand." 
His  Victory.    1  Tim.  6.  11-16. 

Hymn  391  (verses  1,  4),  'T  the  good  fight  have 
fought." 

Closing  Hymn,  430,  "For  all  the  Saints." 

Topic  for  Discussion :  "Your  Favorite  New  Testament  Hero." 


HOW  TO  USE  THE  HYMNAL  275 
11.  The  Journey  op  Israel 

1.  The  Escape  from  Egypt.    Exod.  14.  22-30. 

Hymn  163  (verse  1),  ''Come,  ye  faithful,  raise  the 
strain." 

2.  Heavenly  Manna.    Exod.  16.  11-18. 

Hymn  438  (verses  1,2),  "Day  by  day  the  manna  fell/' 

3.  In  the  Wilderness:  a  Prayer  for  Guidance.    Deut.  9. 

25-29. 

Hymn  91,  "Guide  me,  O  thou  great  Jehovah." 

4.  The  Cloud  by  Day:  the  Fire  by  Night.    Exod.  13.  20-22. 

Hymn  95,  "When  Israel  of  the  Lord  beloved." 

5.  The  Voice  of  God.    Exod.  20.  1-18. 

Hymn  211    (verses   1,   2),   "Hear  what  God  the 
Lord  hath  spoken." 

6.  Onward  through  the  Wilderness.    Deut.  1.  5-11. 

Hjann  567,  "Through  the  night  of  doubt  and  sorrow." 

7.  Moses'  Vision  from  the  Mountain.    Deut.  34.  1-6. 

Hymn  604,  "There  is  a  land  of  pure  delight." 

8.  Marching  Song.    Josh.  1.  10-16. 

Hynm  384  (1st  and  last  verses),  "Forward  be  our 
watchword." 

9.  At  the  River.    Josh.  3.  7-13. 

Hymn  617  (1st,  2d,  and  last  verses),  "On  Jordan's 
stormy  banks  I  stand." 

10.  The  Battle.    Josh.  6.  12-21. 

Hymn  448,  "God  is  my  strong  salvation." 

11.  Possession  of  the  Promised  Land.    Josh.  18.  3-10. 

Hymn  403,  "Defend  us,  Lord."    (Tune  "Joshua.") 

12.  Victory  through  Divine  Power.    Psa.  48.  1-14. 

Hymn  212,  "Zion  stands  with  hills  surrounded." 

Topic  for  Discussion:  "What  was  the  most  Significant  Event 
between  Egypt  and  the  Jordan?" 


276  MrSIC  A^T)  HYMNODY 

12.  The  Prophets  axd  Prophecies 

1.  The  Music  of  the  Prophets.    Psa.  95.  1-6. 

Hymn  12  (verses  1,  3,  o)/'0  Thou,  to  whom  in  ancient 
^time.'' 

2.  The  Inspiration  of  Prophecy.    1  Pet.  1.  3-12. 

H\Tnn  181  (verses  1^  2),  ^'Come,  Holy  Ghost,  our 
hearts  inspire.'' 

3.  The  Pathway  of  the  Prophets.    Heb.  11.  32-40. 

Hymn  306  (verses  1,  2),  ''Jesus,  my  all,  to  heaven 
is  gone.'' 

4.  Prophecy  Concerning  the  Coming  of  Christ.    Isa.  9.  1-7. 

H>Tnn  108  (verses  1,  o),  "Hark,  the  glad  sound!  the 

Sa^iour  comes, 
The    Sa\iour  promised 
long." 

5.  Prophecy  Concerning  the  Cross.    Isa.  53.  3-10. 

Hynm  149  (verses  2,  3),    'Tis  finished!  all  that  heaven 

foretold 
Bv  prophets  in  the  days  of 
'old." 

6.  The  Golden  Age.   Psa.  72.  3-18. 

H}Tnn  110  (verse  5),  'Tor  lo!  the  days  are  hastening  on 
By  prophet-bards  foretold." 

7.  The  Testimony  of  the  Prophets.    Acts  2.  25-36. 

H}Tnn  293,  'Art  thou  wear^'.  art  thou  languid?" 
(Verses  1,  2,  6,  7.) 

8.  Thanks  for  Prophecy.  (Prayer.) 

H\Tnn  14  (verses  1,  2,  4),  "To  thee,  Eternal  Soul,  be 

praise ! 

Who  from  of  old  to  our 
own  days 

Through  souls  of  saints 
and  prophets,  Lord, 

Hast  sent  thy  hght,  thy 
love,  thy  word." 

Topic  for  Discussion:  "Who  was  the  Greatest  Prophet?'' 


HOW  TO  USE  THE  HYMNAL  277 
13.  Missions  and  Messengers 
Opening  Hymn,  111,  '^Hark!  the  herald  angels  sing!'* 

1.  The  Call.   Acts  16.  6-10. 

Hjonn  655,  'Trom  Greenland's  icy  mountains." 

2.  The  Command.    Mark  16.  14-19. 

Hymn  634,  "Tell  it  out  among  the  heathen." 

3.  Prayer  for  Divine  Guidance.    Acts  4.  24-33. 

Hymn  220,  "Jesus,  the  truth  and  power  divine, 

Send  forth  these  messengers  of  thine." 

4.  Response  by  the  Messengers.    Acts  10.  34-43. 

Hymn  219,  "Lord  of  the  living  harvest." 

5.  Parting  Charge  to  the  Messengers.    John  20.  19-22. 

Hymn  640,  "Go,  ye  messengers  of  God!" 

6.  The  Field,  the  Inspiration  to  Work.    Psa.  2.  1-10. 

Hymn  654  (verses  2,  3,  4),  "Behold  how  many  thou- 
sands." 

7.  The  Invitation.    Acts  2.  29-39. 

Hymn  259  (second  tune),  "Come,  ye  sinners." 

8.  The  Penitence  of  the  Nations.    Acts  2.  40-43. 

Hymn  653,  "The  morning  hght  is  breaking." 

9.  The  Fire  of  Salvation.    Acts  2.  1-4. 

Hymn  643,  "See,  how  great  a  flame  aspires!" 

10.  The  Signs  of  the  Times.    Isa.  21.  6-12. 

Hymn  636,  "Watchman,  tell  us  of  the  night." 

11.  The  Final  Conquest  Completed.    Rev.  22.  1-6. 

Hymn  631,  "Jesus  shall  reign  where'er  the  sun." 

12.  The  Banner  of  Victory.  (Recessional.) 

Hymn  639  (verses  1,  3,  4,  6),  "Fling  out  the  banner!" 

Topic  for  Discussion:  "Our  Duty  toward  Missions," 


278  MUSIC  AND  HYMNODY 

14.  The  Mountains 

Opening  Hymn,  649  (verses  2,  3),  "See  how  beauteous  on 
the  mountains." 

1.  HoREB — ^The  Mountain  of  Covenant.   Lev.  20.  22-26. 

Hymn  403,  ''Defend  us.  Lord,  from  every  ill." 

2.  PisGAH — ^The  Mountain  of  Vision.    Deut.  34.  1-6. 

Hymn  516  (  verses  1,  3),  "Sweet  hour  of  prayer." 

3.  Hattin— The  Moimtain  of  the  Beatitudes.   Matt.  5. 

1-  16. 

Hymn  360,  "Blest  are  the  pure  in  heart." 

4.  Hermon — ^The  Mountain  of  Transfiguration.    Mark  9. 

2-  10. 

H3ann  131,  "O  Master,  it  is  good  to  be 

High  on  the  mountain  here  with  thee." 

5.  Olives — ^The  Mountain  of  Anguish.    Luke  22.  39-48. 

Hymn  147,  "  Tis  midnight;  and  on  Olive's  brow." 

6.  Calvary — ^The   Mountain   of   Crucifixion.    Luke  23. 

32-47. 

Hymn  152,  "O  come  and  mourn  with  me  awhile." 

7.  Olivet — ^The  Mountain  of  Ascension.    Luke  24.  45-53. 

H)m[m  162,  "Hail  the  day  that  sees  him  rise." 

Closing  Hymn,  423  (verses  5,  6),  "O  Master,  from  the 
mountain  side." 

Topic  for  Discussion:  "The  Mountain-tops  of  Christian  Ex- 
perience." 


1 


HOW  TO  USE  THE  HYMNAL  279  j 

i 

15.  The  Sea 

i 

1.  Prayer  for  Those  at  Sea.    Psa.  107.  21-31.  ] 

] 

Hymn  59  (verses  1,  3),  "Now  the  day  is  over."  ] 

1 

2.  The  Sinful  Soul  on  Life's  Ocean.    Isa.  57.  15-21.  I 

H3m[in   246  (verses  1,  2),  "Sinners,  the  voice  of  j 
God  regard."  \ 

3.  Christ  in  the  Storm.    Matt.  8.  18-27.  | 

Hymn  485,  "Fierce  raged  the  tempest  o'er  the  deep."  j 

4.  Jesus  Walking  on  the  Waves.    Matt.  14.  22-33.  ^ 

I 

Hjrmn  61  (verses  1,  3),  "The  day  is  gently  sinking  to  a 
close."  I 

5.  A  Voice  Divine  Across  the  Waves.    John  21.  3-9,  15-19.  j 

Hymn  545,  "Jesus  calls  us  o'er  the  tumult."  j 

6.  "Pilot  Me!"    Psa.  48.  7-14.  j 

Hymn  482,  "Jesus,  Saviour,  pilot  me."  J 

7.  Safe  to  the  Land!    Isa.  33.  17-21;  Ezek.  27.  29.  \ 

Hymn  451,  "My  bark  is  wafted  to  the  strand." 

8.  The  Ocean  of  God's  Love.    Psa.  107.  1-8.  i 

■ 

Hymn  98,  "There's  a  wideness  in  God's  mercy  | 

Like  the  wideness  of  the  sea."  | 

Topic  for  Discussion:  "The  Most  Significant  Sea  Episode  in 
the  Bible." 


280  MUSIC  AND  HYMNODY 

16.  Children's  Day  Service 


Processional:  Hymn  383,  "Onward,  Christian  soldiers/' 

1.  The  Children  of  Israel  in  the  Desert.    Exod.  40.  32-38. 

Hjonn  681,  ''Brightly  gleams  our  banner.'' 

2.  The  Child  in  the  Temple.    Sam.  3.  3-18. 

Hymn  674,  "Hushed  was  the  evening  hymn." 

3.  The  Christ  Child.    Luke  2.  40-52. 

H5nnn  678  (verses  5  and  6,  or  the  whole  hynm),  "O 
Thou  whose  infant  feet  were  found." 

4.  The  Child  in  Jesus'  Arms.    Mark  10.  13-16. 

Hymn  682,  "I  think  when  I  read  that  sweet  story 
of  old." 

5.  The  Child  on  Palm  Sunday.    Mark  11.  1-11. 

H3ann  684,  "There  was  a  time,  when  children  sang." 

6.  The  Child  in  the  Early  Christian  Church.    Eph.  6.  1-3, 

14-17. 

Hymn  672,  "Shepherd  of  tender  youth." 

(The  oldest  Christian  hymn  extant,  by  Clement, 
A.  D.  170-220.) 

7.  The  Offerings  of  the  Child.    (Collection  for  Christian 

Education.) 

H5min  673,  "Beauteous  are  the  flowers  of  earth." 

8.  Prayer. 

Hymn  677,  "Saviour,  like  a  shepherd  lead  us." 

9.  Recessional. 

Hymn  680,  "There's  a  Friend  for  little  children," 


HOW  TO  USE  THE  HYMNAL  281 
17.  Soldiers  op  the  Cross 

1.  The  Call  for  Volunteers.    Matt.  16.  24-27. 

Hymn  416,  "The  Son  of  God  goes  forth  to  war/' 

2.  The  Response.    Isa.  6.  5-12. 

Kymn  393  (verses  1,  4,  5),  ''Am  I  a  soldier  of  the 
cross?" 

3.  Swearing  Allegiance.    2  Chron.  15.  10-15. 

Hymn  413  (verses  1,  2,  3),  ''Stand,  soldier  of  the 
cross." 

4.  The  Armor.    Eph.  6.  11-18. 

Hymn  397  (verses  1,  2,  3),  "Behold,  the  Christian 
warrior  stands!" 

5.  The  Call  to  Arms.    Judg.  6.  13-16. 

Hymn  386,  "Stand  up!  stand  up  for  Jesus!" 

6.  Prayer  to  God  for  Defense.    2  Kings  19.  14-19. 

Hymn  403  (verses  1,  2),  "Defend  us.  Lord,  from 
every  ill." 

7.  The  Captain.    Heb.  2.  5-10. 

Hymn  408,  "Lead  on!  O  King  eternal!" 

8.  The  Watchword.    Judg.  12.  4-6  (Shibboleth). 

Hymn  420   (verses  1,  2),    "True-hearted,  whole- 
hearted." 

9.  Forward  into  Battle.    Judg.  8.  16-22. 

Hymn  383  (verses  1,  2,  3),  "Onward,  Christian 
soldiers.'' 

10.  The  Fight.    1  Tim.  6.  11-16. 

Hymn  409  (verses  1,  4),  "Fight  the  good  fight." 

11.  The  Victory.    1  Cor.  15.  52-58. 

Hymn  418  (verses  1,  2),  "We  march,  we  march  to 
victory!" 


282  MUSIC  AND  HYMNODY 

18.  The  Soul's  Progress 

1.  The  Depths  of  Sin.    Rom.  7.  18-24. 

Hymn  242  (1st  verse),  'Tlunged  in  a  gulf  of  dark 
despair." 

2.  Warning.    Matt.  3.  7-12. 

Hymn  247,  '^Sinners,  turn;  why  will  ye  die?" 

3.  Judgment  and  Retribution.    Rom.  2.  3-9. 

Hymn  603,  'The  day  of  wrath,  that  dreadful  day." 

4.  Conviction.    Acts  16.  25-31. 

Hymn  267,  ''Depth  of  mercy!  can  there  be?" 

5.  Invitation.    Matt.  11.  25-30. 

Hymn  259,  ''Come,  ye  sinners,  poor  and  needy." 

6.  Acceptance.    Matt.  9.  1-8. 

Hymn  272,  "Just  as  I  am." 

7.  Faith.    Heb.  11.  1-10. 

Hymn  301,  "Arise,  my  soul,  arise." 

8.  Witness  of  the  Spirit.    Acts  2.  1-4. 

Hymn  304,  "I  heard  the  voice  of  Jesus  say"  (1st 
two  verses). 

9.  Aspiration.    Psa.  42.  1-5. 

Hymn  317,  "More  love,  O  Christ,  to  thee." 

10.  Consecration.    Isa.  6.  5-12. 

Hymn  348,  "Take  my  life,  and  let  it  be  consecrated." 

11.  Temptation.    Matt.  4.  1-11. 

Hymn  493,  "My  soul,  be  on  thy  guard." 

12.  Activity.    James  2.  14-26. 

Hymn  397,  "Behold  the  Christian  w^arrior." 

13.  Heaven.    Rev.  22.  1-5. 

Hymn  623,  "Rise,  my  soul." 


APPENDIX 


A  Plan  for  Hymnal-Study  Classes,  Using  the  Hymnal  and 
This  Volume  as  Textbooks 

Bible-study  and  mission-study  classes  are  becoming  im- 
portant factors  in  arousing  an  intelligent  interest  in  the  teach- 
ings and  work  of  the  church.  But  why  should  we  not  also 
develop  Hymnal-Study  Classes  to  kindle  a  more  inteUigent 
interest  in  our  worship?  The  very  subject  of  the  study  should 
prove  fascinating  to  young  and  old,  and  with  wise  leadership 
such  classes  could  be  made  a  success  in  almost  every  church 
in  Methodism. 

For  the  guidance  of  leaders  of  Hymnal-Study  Classes  the 
following  outhne  has  been  prepared,  more  for  purposes  of 
suggestion  than  for  prescribing  a  hard-and-fast  course  of  study. 
The  scheme  may  be  varied  according  to  the  abilities  and  in- 
terests of  the  class  and  its  leader.  In  the  topics  for  preparation, 
especial  encouragement  should  be  given  to  the  student  to 
select  illustrations  for  each  point  first-hand  from  the  Hymnal. 
Frequently,  if  possible,  the  class  should  sing  the  hymns — 
especially  after  they  have  been  analyzed  in  respect  to  the  par- 
ticular theme  of  that  week's  lesson.  This  should  familiarize 
the  class  with  many  new  hymns,  and  also  with  the  best  methods 
of  studying  other  new  hymns  yet  unlearned. 

Nor  need  the  study  be  confined  to  Methodists.  An  inter- 
denominational class  may  find  this  plan  of  study  of  value,  if 
only  the  first  lesson  be  modified  or  omitted.  Should  such 
classes  prove  to  be  successful,  the  writer  would  be  interested 
to  hear  of  the  progress  of  the  class.  If,  as  is  intended,  this 
study  awakens  a  deeper  interest  in  the  hymns  and  their  music, 
the  effort  of  organizing  and  conducting  the  class  would  be  well 
worth  while. 


Lesson  I.    Hymnal  History 
Assignment  for  Reading:  Part  I,  Chapters  1,  2,  and  3. 
Topics  for  Special  Preparation: 

1.  The  Eighteenth  Century  Hymnals. 

2.  The  OflBcial  Methodist  Episcopal  Hymnals  (North  and 

South). 

3.  The  Making  of  the  Present  Hymnal. 

283 


284  MUSIC  AND  HYMNODY 

4.  The  Hymnal  and  Other  Factors,  hastening  the  Union  of 

the  two  Methodist  Episcopal  Churches,  North  and 
South. 

5.  A  Critique  of  Hymnals,  Now  Used  in  Other  Denomina- 

tions. (Examine  the  hymnals  in  other  churches  in 
your  town.) 

Lesson  II.   Spiritual  Conditions  Producing  Hymns 
Assignment  for  Reading:  Part  II,  Chapter  4,  pp.  59-79. 
Topics  for  Special  Preparation: 

1.  Old  Testament  Hymns,  of  Moses,  Hannah,  David. 

2.  New  Testament  Hymns,  of  Mary,  the  Gloria  in  Excelsis, 

Revelation. 

3.  Sorrow-Inspired  Hymns. 

4.  Joy- Inspired  Hymns. 

5.  Hymns  Celebrating  Conversion  from  Sin. 

Lesson  III.   The  Power  of  Htmns  in  Human  Life 
Assignment  for  Reading:  Chapter  4,  pp.  79-94. 
Topics  for  Special  Preparation: 

1.  New  Hymn  Stories  (let  the  members  of  the  Class  ask 

several  Christian  people  for  their  experiences  with 
hymns). 

2.  The  Effectiveness  of  Hymns  in  the  Salvation  of  Souls. 

3.  Hymns  at  the  Portal  of  Death. 

4.  War  Songs. 

5.  The  Different  Ways  in  which  Hymns  are  Used. 

Lesson  IV.   The  Schools  of  Hymn- Writers  in  English 
Assignment  for  Reading:  Chapter  5,  pp.  95-112. 
Topics  fof  Special  Preparation: 

1.  Famous  Literary  Folk  who  were  Hymn- Writers. 

2.  The  Eighteenth  Century  Hymn- Writers. 

3.  The  Oxford  Movement  and  Hymnody  and  the  Wesleyan 

Movement. 

4.  Clergymen  as  Hymn- Writers. 

5.  Hymn- Writing  in  America. 


APPENDIX 


285 


Lesson  V.    Hymns  in  Foreign  Languages 
Assignment  for  Reading:  Chapter  5,  pp.  112-128. 
Topics  for  Special  Preparation: 

1.  The  Greek  Hymnists. 

2.  Hymns  from  the  Latin  Church. 

3.  Wesley's  Translations  from  the  German. 

4.  Hynms  from  the  Hebrew  Scriptures. 

5.  Missionary  Hymns. 

Lesson  VL   Theological  Teaching  in  the  Hymns 

Assignment  for  Reading:  Chapter  6. 
Topics  for  Special  Preparation: 

1.  The  Hymns  as  Teachers  of  Theology. 

2.  What  Hymns  Can  the  Roman  Catholics  Use  from  Our 

Hymnal? 

3.  WTiat  Hymns  Can  the  Unitarians  Use  from  Our  Hymnal? 

4.  Which  of  Our  Hymns  are  Common  to  All  Christians? 

5.  Which  of  Our  Hymns  are  Peculiar  to  Methodism? 

Lesson  VII.    The  Literary  Beauties  of  the  Hymns 

Assignment  for  Reading:  Chapter  7. 
Topics  for  Special  Preparation: 

1.  Emotions  Expressed  in  the  Hymns  (with  illustrations). 

2.  Subjective  and  Objective  Hymns. 

3.  The  Imagery  in  the  Hymns. 

4.  Literary  Blemishes  in  the  Hymns  of  Other  Hymnals. 

5.  The  Rhythm  of  the  Hymns. 

Lesson  VIII.    The  Contribution  of  Each  Nation  to  the 
Tunes  of  the  Hymnal 

Assignment  for  Reading :  Chapter  8. 
Topics  for  Special  Preparation: 

1.  Music  as  a  Universal  Language. 

2.  Hymn-Tune  Composers  from  the  Continent  of  Europe. 

3.  Hymn-Time  Composers  from  Great  Britain. 

4.  American  Hymn-Tune  Composers. 


286 


MUSIC  AND  HYMNODY 


5.  Larger  Compositions  from  which  Hymn-Tunes  are  De- 
rived. (Under  this  heading  it  would  add  interest  if 
some  musician  would  render  some  of  the  larger  sources 
of  hymn-tunes.)    See  page  263. 

Lesson  IX.    Stories  of  the  Tunes  and  Their  Titles 
Assignment  for  Reading:  Chapter  9  and  a  Review  of  Chapter  8. 
Topics  for  Special  Preparation: 

1.  How  Times  are  Composed  (see  text). 

2.  What  are  the  Best  Tunes? 

3.  Different  Reasons  for  Choosing  Tune-Titles. 

4.  National  and  Patriotic  Tunes  in  the  Hymnal. 

5.  Secular  Songs  that  have  Made  Hymn-Tunes. 

Lesson  X.    Interpretation  of  the  Hymns  Through  the 
Music 

Assignment  for  Reading:  Chapter  10. 
Topics  for  Special  Preparation : 

1.  Should  Hymn-Tunes  be  Emotional,  and  Why? 

2.  What  Hymn-Tunes  Best  Describe  the  Emotions  of  Words? 

3.  Examples  of  Emotional  Incongruity  between  Hymns  and 

Words. 

4.  Should  Music  be  Employed  to  Describe  Events  or  Episodes. 

5.  A  Study  of  Hymns  250-275,  and  their  Relative  Emotional 

Powers. 

Lesson  XI.    Formal  Elements  of  Music 
Assignment  for  Reading:  Chapter  11. 
Topics  for  Special  Preparation: 

1.  The  Value  of  Tunes  with  a  Chorus. 

2.  What  is  the  Purpose  of  Form  in  Music? 

3.  Which  Keys  are  Best  Suited  to  Hymn-Tunes? 

4.  What  Elements  of  Form  are  Illustrated  in  the  Hymn- 

Tunes? 

5.  Find  Illustrations  of  Poor  Forms. 

Lesson  XII.    Review  and  Practical  Application  of  the 

Course 

Assignment  for  Reading:  Chapter  12. 
General  Review. 


INDEX 


Lines  in  quotation  are  first  lines  of  hymns. 

titles  of  tunes. 


Lines  in  italics  are 


•*A  mighty  fortress  is  our  God/' 
122,  254  (see  "Ein'  Feste 
Burg") 

*'Abide  with  me,"  68,  104,  184, 

193,  194,  226 
Adams,  Mrs.  Sarah  F.,  110,  111, 

133 

Addison,  Joseph,  77,  97, 156,  226 
Ahle,  Johann  Rudolf,  171 
"Alas I  and  did  my  Saviour," 

87,  88,  187 
Aldrich,  Henry,  176 
Alexander,  Mrs.  C.  F.,  Ill,  125 
Alexander,  J.  W.,  120,  122 
Alford,  Dean  Henry,  75,  104 
"All  glory,  laud."  118 
"All  hail!  the  power,"  89, 101 
All  Saints,  176 
Alsace,  197 
Alverson,  J.  B.,  27 
"Am  I  a  soldier  of  the,"  151 
America,  48,  176,  200,  236,  240 
Amsterdam,  177 
"Ancient  of  days,"  108 
"And  are  we  yet  alive?"  82 
"And  can  it  be  that  I,"  61 
"Another  six  days'  work,"  102 
Antioch,  172,  196 
"Arise,  my  soul,  arise,"  86 
Arlington,  176,  199 
Armenia,  188 

Arne,  Thomas  A.,  176,  199 
"Art  thou  weary,  art  thou," 

117,  127,  159 
"As  pants  the  hart  for,"  114 
Asbury,  Bishop,  19,  20,  21 
Ashford,  Mrs.  E.  L.,  195,  208 
"Asleep  in  Jesus,"  76,  223 
Auber,  Miss  Harriet,  110 
Avstria,  187 


"Author  of  faith,"  127 
Avison,  178 

"Awake,  our  souls!  away,"  151 

Babcock,  Rev.  Dr.  M.  D.,  109 
Baker,  Rev.  Sir  H.  W.,  82,  105, 

106,  183,  206 
Barbauld,  Mrs.  Anna  L.,  110 
Baring-Gould,  Rev.  S.,  105,  113 
Barnby,  Sir  J.,  181,  190,  207, 

211,  214,  222,  241 
Barthel^mon,  F.  H.,  174 
Bartholdy,  197 
Bartlett,  Dr.  Maro  L.,  195 
Bathurst,  Rev.  Wilham  H.,  104 
Baume,  John  W.,  196,  211 
Baxter,  Richard,  67,  97 
Beddome,  Rev.  Benjamin,  102 
Beethoven,  173,  197,  200,  228 
"Before   Jehovah's  awful 

throne,"  89 
"Behold I  the  Christian  warrior," 

99 

"Behold  the  Saviour  of  man- 
kind," 85,  100 
Belleville,  193 
Bentley,  185 

Bernard  of  Clairvaux,  120,  122 
Bernard  of  Cluny,  119 
Bickersteth,  Rev.  Dr.  Edward 

H.,  105,  148,  158 
Black,  J.  M.,  36 
Blacklock,  Rev.  Thomas,  70 
"Blessed  assurance,"  70,  90,  205 
"Blest  are  the  pure,"  103 
"Blest  be  the  dear  uniting,"  90 
"Blest  be  the  tie,"  74,  102 
Boardman,  189 
Boehm,  Anthony  W.,  122 
Bonar,  Dr.  Horatius,  75,  104 


287 


288 


INDEX 


Borthwick,  Jane,  124 
Bortnianski,  D.  S.,  186 
Bourignon,  .^toinette,  113 
Bowring,  Sir  John,  105,  133,  157 
Bradbury,  190 
Bradbury,  William  B.,  190 
Bradford,  197 
Brernen,^  171,  202,  243 
Breviaries,  118 

Bridge,  Sir  Frederick,  51,  185 
Bridges,  Matthew,  104 
Brooks,    Bishop    Phillips,  78, 
109 

Brown,  Mrs.  Phoebe  H.  73 
Browning,  Mrs.  Elizabeth  B.,  106 
Brj^ant,  William  Cullen,  75,  107 
Burgmiiller,  Frederick,  199 

Caledonia,  92,  178 

Camp,  John  Spencer,  196,  202 

Campbell,  Rev.  Dr.  James,  37 

Campbell,  Miss  Jane,  125 

Canonbury,  198 

Carey,  Henry,  176,  200,  236 

Cary,  192 

Cary,  Miss  Phoebe,  69 
Caswell,  E.  M,,  118, 120, 121,  125 
Cennick,  John,  101 
Chetham,  John,  176 
Christ  Church,  185 
"Christ  for  the  world,"  76 
"Christ  is  made  the  sure,"  119 
"Christian!  dost  thou  see,"  117, 

220,  221. 
Christmas,  196 
Claudius,  Matthias,  125 
Cobem,  Rev.  Dr.  C.  M.,  32,  204, 

210 

Codner,  Mrs.  Elizabeth,  64 
Coke,  Bishop  Thomas,  17,  19,  22 
Coles,  Rev.  George,  188 
"Come,  Holy  Ghost,  in,"  119 
"Come,  Holy  Spirit,  heavenly 

Dove,"  86 
"Come,  let  us  anew  our,"  87 
"Come,  let  us  join  our,"  87,  116 
"Come,  O  my  soul!"  70^ 
"Come,  O  thou  all  victorious 

Lord,"  79 
''Come,  O  thou  Traveler,"  160 


"Come,  said  Jesus'  sacred,"  110 
"Come,  Saviour,  Jesus,"  113 
"Come,  sound  his  praise,"  72 
"Come,  thou  ahnighty,"  93 
"Come,  thou  Fount,"  64,  102 
"Come,  ye  disconsolate,"  106 
"Come,  ye  faithful,"  117 
"Come,  ye  sinners,"  60, 102 
"Come,  ye  that  love  the  Lord," 

91,  250 
"Commit  thou  all  thy,"  124 
Communion,  187 
Conkey,  Ithamar,  189 
Converse,  Charles  C,  191 
Cooke,  Rev.  Dr.  R.  J.,  32 
Cooper,  Ezekiel,  19,  20 
Copeland,  Rev.  Dr.  Benjamin, 

109,  208,  209 
Coronation,  187,  202 
Cowper,  William,  74,  97,  98,  99, 

113,  116 
Creamer,  David,  27 
Creation,  198 

"Creator,  Spirit!  by  whose,"  119 
Crimea,  194,  214 
Croft,  WilHam,  176,  201,  212 
Crosby,  Fanny  (Mrs.  Van  Al- 
styne),  43,  66,  70,  88,  90,  111. 
Cross,  Dr.  Moses  S.,  196 
Cross  of  Jesus, ^  198,  243,  244 
"Crown  him  with  many,"  104 
Criiger,  Johann,  171,  201 
Crusader's  Hymn,  170,  201 

D'Urhan,  Cr^tien,  174 

"Day  of  wrath,  0  dreadful,"  119 

"Dear  Lord  and  Father,"  107 

Decius,  171,  200,  203 

Decius,  Nicolas,  122,  171,  201 

Deems,  Rev.  Dr.  Charles  F.,  108 

Dennis,  174,  227 

Denny,  Sir  Edward,  105 

Dessler,  Wolfgang  C,  123 

Deventer,  187,  213 

Dexter,  Rev.  Dr.  H.M.,  109, 117 

Diademata,  182,  207 

Dilley,  David,  27 

Dirge,  197 

Doane,  Bishop  George  W.,  108 
Doane,  Bishop  W.  C,  108 


INDEX 


289 


Doane,  William  Howard,  191 
Doddridge,  Rev.  Dr.  Philip,  97, 

98,  116 
Doxology,  96,  189 
Dryden,  John,  119 
Du  Bose,  Rev.  Dr.  H.  M.,  37 
Duane  Street,  188 
Duffield,  Dr.  George,  Jr.,  87,  89, 

93,  108 
Duke  Street,  177 
Dundee,  178,  242 
Dunham,  Henry  M.,  193 
Dunstan,  190,  241 
Dwight,  Timothy,  106,  115 
Dykes,  Rev.  J.  B.,  181,  193,  207, 

211,  212,  215,  220,  221 

Edson,  Lewis,  187 
Eighmey,  194 

Ein*  Feste  Burg,  91,  122,  171, 

200,  205,  238,  243 
Elizabethtown,  189 
Ellers,  182 

Ellerton,  Rev.  John,  75,  105 
Elliott,  Miss  Charlotte,  110 
Elvey,  Sir  George  Job,  182,  212 
Emerson,  Luther  O.,  189 
Emmons,  199 
Even  me,  190 
Evening  Hymn,  175 
Evening  Prayer,  191 
Every  Day  and  Hour,  191 
Ewing,  183,  184,  236,  242 

Faber,  Rev.  Dr.  F.  W.,  103,  132 
Fabricius,  Jacob,  92,  125 
"Fairest  Lord  Jesus,"  125 
"Faith  is  a  living  power,"  125 
"Faith  of  our  fathers,"  104,  132 
"Father,  whatever  of,"  66 
Fawcett,  Rev.  Dr.  John,  74,  102 
"Fear  not,  O  little,"  92,  125 
Federal  Street,  188 
Ferguson,  189 
Festal  Song,  192 
Fillmore,  187 

"Fierce  raged  the  tempest,"  218, 

219 
Fisk,  210 
Flemming,  173 


Flemming,  Friedrich  F.,  174 
"Fung  out  the  banner,"  108 
Floy,  Rev.  James,  26,  27 
"Flung  to  the  heedless,"  123 
"For  all  the  saints,"  105 
"For  thee,  O  dear,  dear  coun- 
try," 119 
"Forward  be  our  watchword," 

75,  104,  151 
Francis,  Rev.  Benjamin,  102 
Frederick,  189 

"From  Greenland's  icy  moun- 
tains," 75,  103,  159,  254 

Gauntlett,  Henry  John,  180,  204 
Genevan  Psalter,  173,  174 
Gerhardt,  Paul,  122,  123,  124 
Gethsemane,  182,  206 
Giardini,  Felice  de,  186 
Gilder,  173 

Gilder,  Richard  Watson,  53,  SO, 

108,  133,  208 
Gilead,  174 

Gill,  Rev.  Dr.  B.,  194,  213 
Gilmore,  Rev.  J.  H.,  76,  109 
"Give  to  the  winds  thy,"  124 
Gladden,  Rev.  Dr.  W.,  109 
Gloria  in  Excelsis,  121,  122 
Gloria  Patri,  182 
"Glorious  things  of  thee  are," 
99,  253 

"Glory  be  to  the  Father,"  80 
"God  be  with  you,"  90,  109 
"God  calling  yetl  shall  I,"  124 
"Golden  harps  are  sounding/' 
83 

Goodrich,  Charles  G.,  194,  211 
Goodsell,  Bishop  Daniel  A.,  8, 

36,  39,  138,  186 
Gottschalk,  Louis  M.,  198 
Gouda,  187,  213 
Gould,  Nathaniel  D.,  188 
Gounod,  Charles  Francois,  174, 

185,  198 
Grant,  Sir  Robert,  102,  103,  105 

156 

Greatorex,  Henry  W.,  182 
Green  HiU,  184 
Greenville,  174,  198 
Gregory,  Pope,  169,  170 


290  INI 

Gruber,  Franz,  201 

-'Guide  me,  O  thou  great  Jeho- 
vah," 101 

Guyon,  Madame  J.  M.  B.  de 
la  M.,  72,  113 

Habakkuk,  180 

J 'Hail  to  the  Lord*s  anointed," 
74 

Hamilton,  Jefferson,  24 
Hammond,  Rev.  William,  101 
Handel,  George  F.,  122,  172,  173 
196 

Hankey,  Katherine,  66 
Hanover  y  176 

"Hark,  the  voice  of  Jesus  call- 
ing," 151 
Harrington,  Calvin  S.,  38,  40, 

210,  258 
Harrington,  Claude  W.,  212 
Harrington,  Karl  P.,  8,  40,  192, 

193,  213,  214 
Harrfe,  Thoro,  194,  214 
Hart,  Rev.  Joseph,  60,  102 
Hassler,  H.  L.,  171,  199,  201 
"Hasten,    Lord,    the  glorious 

time,"  110 
Hastings,  Thomas,  106,  187,  188 
Havergal,  Frances  Ridley,  63, 

67,  83,  106,  111 
Hay,  John,  107 

Haydn   Francis   Joseph,  173, 

187,  198,  226 
Hayesy  197 

"He  leadeth  me,"  76,  109,  190 
Heber  189 

Heber,  Bishop  R.,  75,  103,  159 
Hedge,  Rev.  Dr.  Frederick  H., 
1^ 

Herbert,  George,  97 

Herbert,  Petrus,  125 

'*Here,  O  my  Lord,  I  see,"  75 

Herold,  Louis  Joseph  F.,  174 

HesperuSy  183 

Hews,  George,  188 

"High  on  his  everlasting,  "123 

Hitt,  Daniel,  20,  21 

Hodges,  Edward,  180 

Holden,  Oliver,  106,  187,  202 

HoUand,  Dr.  J.  G.,  47,  107,  156 


Holley,  188 

Holmes,  Oliver  Wendell,  107 
Holmfirth,  193 

"Holy  Ghost,  dispel  our,"  124 
Holy  Hilly  194 
Hopkins,  Edward  John,  182 
Hoss,  Bishop  E.  E.,  36 
How,  Bishop  William  W.,  105 
"How  are  thy  servants  blest, 

O  Lord,"  77,  97 
"How  happy  is  the  pilgrim's 

lot,"  101 
"How  sad  our  state,"  87 
Humphrey,  Pelham,  176 
Huntington,  Rev.  Dr.  D,  C,  35 
Hurskyy  184,  214 
Hymn  of  Joy,  197 

"I  bow  my  forehead,"  107 

"I  heard  the  voice  of  Jesus 

say,"  104,  207 
"I  know  no  life  divided,"  125 
"I  lay  my  sins  on  Jesus,"  104 
"I  love  thy  kingdom,"  115 
"I'll  praise  my  Maker  while 

I've  breath,"  81 
"I'm  but  a  stranger  here,"  67 
"I'm  going  home  to  die  no 

more,"  93 
"I  need  thee  every  hour,"  191 
"I  would  not  live  alway,"  189 
"I  thank  thee,  uncreated  Sun," 

123 

"I  thirst,  thou  wounded  Lamb 

of  God,"  124 
"In  age  and  feebleness  extreme," 

69,  185 

"In  the  cross  of  Christ  I  glory," 
105,  133,  157,  163,  189,  254 

"In  the  hour  of  trial,"  99 

Ingalls,  Jeremiah,  187 

Ingemann,  Bernhardt  S.,  113 

Innocent  JIL,  Pope,  120 

Intercession  New,  197 

"Into  the  woods  my  Master 
went,"  108 

"Into  thy  gracious  hands  I  fall," 
123 

"It  came  upon  the  midnight 
clear,"  107 


INDEX  291 

"It  may  not  be  our  lot  to  wield,"  -'Leave  God  to  order  all/'  124, 

107  223 

Italian  Hymn,  186,  239  Lenox,  187 

"Let  heaven  and  earth,"  86 

Jacobi,  John  C,  124  Linwood,  186 

Jackson,  Rev.  H.  G.,  36  "Lo!  He  comes  with  clouds  de- 
Jenks,  Stephen,  187  scending,"  101 

"Jerusalem  the  golden,"  119,  "Lo!  on  a  narrow  neck  of  land," 

184,  207,  236  77 

"Jesus  can  make  a  dying-bed,"  Longfellow,  Rev.  Samuel,  108 

79  Longstreet,  Augustus  B.,  24 

"Jesus,  Lover  of  my  soul,"  47,  "Lord,  I  hear  of  showers,"  64 

222,  236  "Lord,  it  belongs  not,"  67,  97 

"Jesus  shall  reign  where'er  the  "Lord   of  all   being,  throned 

sun,"  90  afar,"  107 

"Jesus,  the  name  high  over  all,"  "Lord,  while  for  all  mankind," 

73  74 

"Jesus,   the  very  thought  of  Lowry,  Rev.  Robert,  191 

thee,"  120,  230  Luther,  Martin,  9,  11,  91,  106, 
"Jesus,    thou    Joy  of    loving      122,  123,  130,  131,  153,  170, 

hearts,"  120  171,  200 

"Jesus,  thy  blood  and  righteous-  Lutkin,  Peter  C.,  8,  40,  192, 

ness,"  63,  123,  224  193,  208,  209,  213 

"Jesus,  thy  boundless  love,"  124  Lux  Benigna,  180,  193 

"Jesus,    where'er    thy    people  LwofiF,  Alexis  F.,  186,  201 

meet,"  74  Lyte,  Rev.  Henry  Francis,  68, 
JeweU,  198,  227  104,  184 

"Joy  to  the  world!  the  Lord," 

136,  231  Mackay,  Margaret,  76 

Jude,  William  H.,  212  "Make  haste,  O  man,"  128 

Julian,  John,  15,  108  Malan,  Rev.  A.  H.  C,  106 

"Just  as  I  am,  without  one  plea,"  Mann,  Arthur  H.,  185,  216 

82,  110,  190  Manoah,  186 

Margaret,  184,  185 

Keble,  Rev.  John,  103,  214  Marlow,  176 

Kelley,  Rev.  Thomas,  104  Marsh,  Simeon  Butler,  188 

Ken,  Bishop  Thomas,  78,  96,  Martyn,  188,  236 

97  Marylebone,  185 

Kerlin,  Rev.  Dr.  Robert  T.,  38  Mason,  Lowell,  170,  181,  187, 
Kingsley,  George,  189,  211  188,  189 

Kirbye,  George,  176  Massie,  Richard,  125 

Knapp,  Mrs.  Joseph  F.,  191  Matheson,  Rev.  Dr.  George,  70, 
Knapp,  William,  176  71,  184 

"May  the  grace  of  Christ,"  116 

Lanier,  Sidney,  107  Medley,  Rev.  Samuel,  102 

"Late,  late,  so  late,"  106  Mehul,  Etienne  Henri,  174 

Lathbury,  Miss  M.  A.,  112  Meineke,  Charles,  182 

Lawes,  Henry,  176  Melcombe,  199 

"Lead,  kindly  Light,"    64-66,  Mendebras,  200,  206 

103,  160,  193  Mendelssohn,  197 


292 


Mendelssohn,  171,  173,  197,  200, 

201,  202,  208 
Merrick,  F.,  27 
Messenger,  John  A.,  123 
Messiah,  174 
Middletown,  204,  213 
Miller,  178,  202 
Milman,  Dean  H.  H.,  104 
Milton,  John,  97,  115,  148 
Mims,  Dr.  Edwin,  37 
Monk,  William  Henry,  184 
Monsell,  Rev.  J.  S.  B.,  105 
Montgomery,  James,  68,  74,  97, 

99,  115,  206,  207 
Moore,  Rev.  Dr.  J.  M.,  37,  210 
"More  love  to  thee,  O  Christ," 

111,  191 
Morning  Hymn^  174,  206 
Morninglon,  111 
Momington,  Earl  of,  178 
Mozart,  173 
Munich,  171,  201,  243 
"My  country,  'tis  of  thee,"  93, 

108 

"My  faith  looks  up  to  thee,"  66, 
108 

"My  God,  I  love  thee,  not  be- 
cause," 121,  149 

"My  God,  my  Father,  while  I 
stray,"  110 

"My  hope  is  built  on  nothing 
less,"  134 

"My  hope,  my  all,  my  Saviour," 
195 

"My  Jesus,  as  thou  wilt,"  124 
"My  Lord,  how  full  of  sweet 

content,"  72,  113 
"My  soul,  be  on  thy  guard,"  225 
"My  soul  before  thee  prostrate," 

123 

Naegeli,  Johann  Georg,  174 
Naomi  J  174 
National  Hymn,  192 
NatiirUy,  185 

Neale,  Dr.  J.  M.,  117,  118,  119. 
"Near    the    cross    was  Mary 

weeping,"  120 
"Nearer,  my  God,  to  thee,"  82, 

110,  133,  215 


Neumark,    Georg,    106,  125, 

171,  202 
"New   every   morning   is  the 

love,"  103 
Newbold,  189 

Newman,  Cardinal  John  Henry, 

65,  66,  103 
Newton,  Rev.  John,  97,  98,  99, 

116,  130,  137 
Nitschmann,  J.  and  Anna,  124 
North,  Rev.  Dr.  Frank  Mason, 

109 

"Now  God  be  with  us,"  125 
"Now  I  have  found  the  ground," 
123 

"Now  thank  we  all  our  God," 

92,  124,  250 
Nun  Danket,  111,  201,  205 
Nunc  Dimitlis,  170 
Nuremberg,  171,  243 
Nutter,  Rev.  Dr.  Charies  S.,  32 

"O  come,  all  ye  faithful,"  120 
"O  come,  and  mourn,"  127 
"O  day  of  rest  and  gladness," 

104,  206,  226 
"O  for  a  thousand  tongues  to 

sing,"  62 
"O  for  that  flame  of  living  fire," 

104 

"O  happy  day,"  98 
"O  happy  home  where  thou  art," 
125 

"O  Jesus,  thou  art  standing," 
105 

"O  little  town  of  Bethlehem," 

78 

"O  Lord,  our  fathers  oft,"  115 
"O  Love  divine,  that,"  107 
"O  Love,  that  wilt  not  let  me 

go,"  71,  184 
"O  Master,  it  is  good  to  be,"  78 
"O  sacred  Head,  now  wounded," 

122,  147 
"O  thou  God  of  my  salvation," 

101 

"O  thou,  to  whose  all-search- 
ing," 123 

"O  Thou,  who  driest  the  mourn- 
er's," 106 


INDEX 


293 


"O  worship  the  King,"  103 
"Of  all  the  thoughts  of  God/' 
106 

"Of  Him,  who  did  salvation 

bring,"  122 
Old  Hundred,  173,  199,  200,  206, 

242 

Oldberg,  Arne,  173 

Oliver,  Henry  Kemble,  188 

Olivers,  Rev.  Thomas,  101,  113, 
252 

Olmutz,  170 

Olney,  174,  185,  198 

"One  more  day's  work  for  Je- 
sus," 191 

"One  sweetly  solemn  thought," 
69,  165,  224 

"Onward,  Christian  soldiers!" 
105,  182,  212,  224,  225 

Ortonville,  188 

Paisello,  Giovanni,  186 
Palmer,  Rev.  Dr.  Ray,  66,  108, 
120 

Pass  me  not,  191 

Parker,  Rev.  Dr.  F.  S.,  37,  210 

Parry,  Sir  Charles  Hubert  H., 

185,  186,  228 
Passion  Chorale,  171,  199,  201 
Patten,  David,  Jr.,  27 
Peace,  A.  L.,  184 
"Peace,  perfect  peace,"  105,  227 
Perronet,  Rev.  Edward,  102 
Pleyel,  Ignaz  Joseph,  187,  198 
PleyeVs  Hymn,  187,  198,  227 
Pond,  Sylvester  BiUings,  188 
Pontius,  William  H.,  194 
Portuguese  Hymn,  202 
"Praise  God,  from  whom,"  96 
"Prayer  is  the  soul's  sincere,"  99 
Precious  name,  191 
Prentiss,  Mrs.  E.  P.,  Ill 
Procter,  Adelaide  Ann,  111 
Purcell,  Thomas,  176,  185 
Puritan,  193 

Quayle,  Bishop  W.  A.,  31 

Radiant  Morn,  174,  206 
Rankin,  Rev.  Dr.  J.  E.,  109 


RatJibun,  189 

Redhead,  R.,  182,  215,  239 
Redner,  Lewis  Henry,  192 
"Rescue  the  perishing,"  66,  191 
Retreat,  188 

"Return,  O  wanderer,"  147 
Rice,  Mrs.  Caroline  Laura,  112 
Richter,  Rev.  Dr.  Christian  F., 
123 

"Ride  on,  ride  on  in  majesty," 
104 

Rinkart,  Martin,  124 

"Rise,  glorious  Conqueror,"  104 

"Rise,  my  soul,  and  stretch  thy 

wings,"  101 
Ritter,  Peter,  184 
Robinson,  Rev.  Robert,  64,  102 
"Rock  of  Ages,"  82, 102, 127,  128 
Rodigast,  Samuel,  125 
Rogers,  Lebbeus  Harding,  84 
Roosevelt,  Theodore,  209 
Rossini,  Gioachino  A.,  186 
Rothe,  Johann  A.,  123 
Rotterdam,  187 

Rousseau,  Jean  Jacques,  174, 
198 

Russian  Hymn,  186,  201 
Rutherford,  174,  211 

St.  Athanasius,  182 
St.  Andrew  of  Crete,  117,  220 
St.  Ann,  52,  176,  201 
St.  George's,  Wiridsor,  182 
St.  John  of  Damascus,  117 
*S^.  John's,  Westminster,  180 
St.  Leonard,  182 
St.  Louis,  192 
St.  Martin's,  177 
*S^.  Peter,  171,  201,  203 
St.  Petersburg,  186 
St.  Stephen,  177 
,S^.  Theodulph,  171 
St.  Theodulph  of  Orleans,  118 
St.  Theresa,  121 
St.  Thomas,  187 
Samson,  197 
Sanctus,  No.  2,  194 
Sankey,  Ira  D.,  191 
"Saviour,  again  to  thy  dear," 
75,  105,  229 


294 


Scheffler,  Johann  A.,  123 
Schmolck,  B.,  124 
Schumann,  Robert,  173,  198 
Scott,  Sir  Walter,  105,  119,  155 
Scriven,  Joseph,  71 
Seagrave,  Rev.  Robert,  101 
Sears,  Dr.  E.  H.,  107 
"See,  how  great  a  flame,"  78, 156 
Serenity  f  179 

"Servant  of  God,  well  done,"  68 
Service,  195 
Sessions,  189 
Seymour,  198 

"Shall  I,  for  fear  of  feeble  man," 
123 

"Shall  man,  O  God  of  light,"  115 
Shaw,  Leslie  M.,  30 
"Shepherd  of  tender  youth,"  116 
Sfwrtle,  194 
Sicilian  Mariners,  186 
"Silent  night,"  125,  156,  201 
Siloam,  199 
Simpson,  197 

Simpson,  Matthew  V.,  33,  36 
"Since  without  Thee  we  do  no 

good,"  106 
Smart,  Henry  (Thomas),  181, 

207 

Smith,  Bishop  Charles  W.,  31 
Smith,  Samuel  Francis,  108 
Smith,  Whiteford,  24 
Snyder,  Dr.  Henry  N.,  37 
"Softly  now  the  light  of  day," 
108 

Something  for  Jesus,  191 
"Soon  may  the  last  glad  song," 
110 

Spagenburg,  Augustus  G.,  123 
Spitta,  Carl  J.  P.,  125 
Spohr,  197 

Spohr,  Louis,  173,  197 
Stainer,  Sir  John,  182,  198,  207 
"Stand  up,  stand  up  for  Jesus," 
108 

Stanley,  Dean  Arthur  P.,  78, 

104, 119 
Stebbins,  George  Coles,  191 
Steele,  Anna,  66 
Stennett,  Rev.  Joseph,  102 
Stennett,  Rev.  Dr.  Samuel,  102 


Stephen,  the  Sabaite,  117 
Stephanos,  183 
Sternhold  and  Hopkins,  114 
Stevenson,  Rev.  Dr.  G.  J.,  83,  86 
Stewart,  Sir  Robert  P.,  178 
"Still,  still  with  Thee,"  111 
Stockton,  Rev.  J.  H.,  106,  191 
Stowe,  Mrs.  Harriet  B.,  Ill 
Stratton,  Mrs.  F.  K.,  112 
"Strong  Son  of  God,  immortal 

Love,"  106 
Stiyker,  Rev.  Dr.  M.  W.  109 
Stuart,  Rev.  Dr.  C.  M.,  8,  32, 

39,  209,  230 
Sullivan,  Sir  Arthur,  52,  181, 

182,  212 

Summers,  Thomas  O.,  23,  24,  25 
"Sun  of  my  soul,  thou  Saviour," 

103,  184 
"Sunset  and  evening  star,"  106 
"Sweet  hour  of  prayer,"  70,  164, 

190,  205 

"Take  my  life  and  let  it  be,"  63, 
126 

Tallis,  Thomas,  174,  175 
Tappan,  189 

Tate  and  Brady,  114,  116 
Taylor,  Rev.  Thomas  B.,  67 
"Teach  me,  my  God  and  King," 
97 

"Tell  it  out  among  the  heathen," 
67,  191 

"Tell  me  the  old,  old  story,"  66 
Tennyson,  Alfred,  Lord,  106 
Tersteegen,  Gerhard,  124 
Teschner,  Melchior,  171 
Thatcher,  197 

"The  church's  one  foundation," 
126 

"The  day  of  resurrection,"  117 
"The  day  of  wrath,"  106,  119 
"The  God  of  Abraham  praise," 

101,  113,  223,  252 
"The King  of  love  my  Shepherd," 

83,  127,  163 
The  Lord  Bless  You  and  Keep 

You,  193 
"The    Lord    descended  from 

above,"  114 


•'The  Lord  will  come  and  not 

be  slow,"  97 
'*The  morning  light  is  breaking/* 

108 

"The  perfect  world  by  Adam 

trod,"  75 
The  Solid  Rock,  190 
**The  spacious  firmament,"  97, 

226 

** There  is  a  fountain  filled,"  80, 
99 

"There  is  a  land  of  pure  delight," 
77 

"There's  a  song  in  the  air,"  47, 
107 

? 'There's  a  wideness  in,"  54,  104, 
192 

"They  who  seek  the  throne,"  187 
"Thou  art  the  Way,"  108 
"Thou  hidden  love  of  God,"  124 
"Thou,  whose  unmeasured  tem- 
ple," 75 
Thring,  Rev.  Godfrey,  105,  208 
^Through  the  night  of  doubt," 
113 

Tillett,  Rev.  Dr.  Wilbur  Fisk, 

8,  37,  40 
"To   Father,  Son,  and  Holy 

Ghost,"  114 
"To  God  on  high  be  thanks," 

122 

"To   thee.    Eternal   Soul,  be 

praise,"  133 
Tomer,  William  G.,  191 
Toplady,  188 

Toplady,   Rev.   Augustus  M., 

102,  124,  133 
Tourj^e,  Eben,  192 
Tourj^e,  Lizzie  S.  (Mrs.  Esta- 

brook),  192 
Tours,  Berthold,  187,  213 
True-Hearted,  Whole-Hearted,  191 
Truro,  177 
Turle,  James,  180 

Upham,  Rev.  Dr.  S.  F.,  31,  210 

Van  Alstyne,  Mrs.  Francis  J. 

(see  "Fanny  Crosby") 
Viffil,  186,  207 


295 


Vokes,  Mrs.,  110 
Vox  Dilecti,  207,  220 

Walford,  William  W.,  70 
Wallace,  William  V,,  178 
Walter,  William  Henry,  192 
Waratah,  196 
Waring,  197 

Waring,  Miss  Anna  Letitia,  111 
Warren,  George  W,,  192 
Warren,  Rev.  Dr.  William  F., 

109,  131 
Washington,  194,  204,  214 
"Watchman,  tell  us,"  159 
Wathall,  Alfred  G.,  193 
Watts,  Isaac,  16,  72,  76,  79,  81, 

87,  97,  98,  115,  116,  129,  136, 

153 

"We  may  not  climb  the  heav- 
enly," 107 
"We  plow  the  fields  and,"  125 
Webb,  199 

Webb,  George  J.,  199 
Webbe,  Samuel,  174,  199 
Weber,  Carl  M.  von,  173,  198 
Webster,  Rev.  Dr.  Lorin,  195 
"Weep  not  for  a  brother,"  54, 
147 

"Welcome,    delightful  morn," 

226,  232 
"Welcome,  happy  morning,"  82 
"Welcome,  sweet  day  of  rest," 

86 

Wellesley,  192 

Wesley,  Charles,  16,  47,  53,  61, 

62,  68,  69,  73,  77,  78,  79,  99, 
100,  115,  116,  131,  134,  135, 
136,  137,  153,  156,  160,  180, 
185,  206,  207,  222 

Wesley,  John,  15,  17,  22,  53,  61, 

63,  81,  82,  85,  89,  99,  100, 102, 
113,  123,  124,  133,  135,  138, 
215,  236, 

Wesley,  Rev.  Samuel,  85,  100 
Wesley,  Samuel  Sebastian,  180, 
208 

West,  Robert  A.,  27 
Westminster,  180 
"What  a  friend  we  have,"  72, 
191 


296 


"What  though  my  flesh  and 

heart/'  82 
"Whate'er  my  God  ordains," 
125 

"When  all  thy  mercies,  O  my 
God,"  97 

"When  gathering  clouds,"  127 

"When  I  survey  the  wondrous," 
85,  98,  224 

"When  Israel,  of  the  Lord  be- 
loved," 105 

"When  marshaled  on  the  night- 
ly," 60 

"When  morning  gilds  the  skies," 
125 

"While  life  prolongs  its  pre- 
cious," 115 

"While  shepherds  watched 
their,"  116 

"While  thee  I  seek,  protect- 
ing," 72 

Whisner,  Rev.  Peter  H.,  35,  36 

White,  Henry  Kirke,  60,  254 

Whitehead,  Rev.  Dr.  Paul,  37 

Whittier,  John  G.,  107 

"Who  are  these  arrayed  in 
white,"  68 

it  Why  should  the  children  of  a 
King,"  89 


Wightman,  WiUiam  M.,  23,  24 
Williams,  Aaron,  187 
WilHams,  Helen  Maria,  72 
Williams,  Rev.  William,  101 
Willis,  Nathaniel  P.,  75,  107, 
158 

Willis,  Richard  Storrs,  107 
Wilson,  197 

Winchester,    Dr.    Caleb  T.,  8, 

32,  41,  106,  109,  144,  213 
Winchester  Old,  176,  242 
Winkler,  John  J.,  123 
Winkworth,  Catherine,  124 
Winton,  Rev.  George  B.,  36 
Wolcott,  Dr.  Samuel,  76 
Woodbury,  Isaac  Baker,  199 
Woodworth,  190,  231 
Woodland,  188 

Wordsworth,  Rev.  Christopher, 
104 

"Workman  of  God!  O  lose  not 

heart,"  151 
Wreford,  Rev.  John  R.,  75 

Xavier,  Saint  Francis,  149 

Zinzendorf,  Count  N.  L.,  62,  123, 

124 
Zion,  188 


